Pallava Cave Temples, Rockfort – Upper Cave Temple
The
upper cave temple called as Lalitankura cave temple is located at a height of
about 200 meters from the ground level. It can be reached by steep flight of
steps. The Rockfort consists of three temples - a small Manicka Vinayakar
temple at the foothill, the big Thayumanavar (Shiva) temple at half way to hill
top and Uchchi Pillaiyar temple at the top of the hill. The upper cave temple
is located near Thayumanavar temple on the way to Uchchi Pillaiyar temple. It
is unfortunate that the site remains closed nowadays and you can view the
temple only from outside the grilled gates.
As per
the inscriptions found in this temple, it was built by Mahendravarman Pallava.
It looks like this would have been his latest work. The front facade of the
south facing cave temple is supported by four pillars and two pilasters. The
pillars are cubical at top and bottom whereas octagonal in the middle. The hall
has an east facing shrine. The entrance of the shrine has two bas-relief images
of Dwarapalas. Both the Dwarapalas hold clubs. There is no deity inside the
shrine. It is believed that the shrine would have had Shiva Linga and Parvati
originally.
This
south facing cave temple shows various advancements over the first such attempt
in Mandagapattu. From its
style and design, this would have been the latest construction from Mahendravarman I. The front façade is
supported on four pillars and two pilasters, thus forming five openings. The
pillars are in usual Mahendra style,
cubical top and bottom with intermediate octagonal shaft. The lower cubical
parts of the pillars are adorned with lotus medallions. However, the upper
cubical parts are having various designs in circles, instead of lotus
medallions. This feature is seen only in this cave temple of Mahendra. The potikas (corbel) above the
pillars are molded with a median patta (band).
This corbel style is seen in later Pallava
constructions.
Also, this feature resembles with the cave temples
of Pandya origin, as
in Tirumalapuram cave
temple. This façade has been cut inwards of the cave, resulting in overhanging
cornice. The cornice is devoid of any architectural element such as kudu or mini-shrines etc. This
deep cutting in on the rock face gave space to construct a three-step staircase
in middle front of the cave so reach the platform of the shrine. The stair case
is flanked with makara parapets
on either side. The oblong hall inside is of 30 feet in length, 15 feet in
width and 9 feet in height.
There is
another row of pillars behind the front row. This row also has four pillars and
two pilasters. The faces of lower cubical part have lotus medallions while the
faces of upper cubical part have various designs in circles. In these designs
we find females, animals like elephant, swan etc. The arrangement of this inner
row is same as of the façade row of pillars. As the cave is facing south, hence
an inner shrine, of 8 feet square and 7 feet high, is cut on the eastern wall
of the mandapa (hall).
The shrine has a three-step stair case in front to reach over to the platform.
The
platform (adhisthana) is
comprised of, from below to top, jagati (in
red color), tripatta-kumuda (in
orange color), recessed kampa (in
violet color), recessed kantha (in
sky-blue color), another recessed kampa (in
violet color) and projecting pattika (in
light green color). Above the platform are four pilasters, forming three
niches. The middle one is made into an entrance and the side niches have dvarpalas. The pilasters of the door show
pretty good advancement in architectural style as we observe various components
of the pillars found on these pilasters, features which were not seen earlier
in Mahendra’s time. These
features include various components as suggested by earlier shilpa-Sastras i.e. Mayamatam.
Above
the cornice are characteristic arrangement of three kudus, the middle one is in exact
middle of the main entrance and others are in middle of respective niches.
Inside the cell are two cavities made in the floor. One hole, about 2 feet
square and 2.5 feet deep, would have been for Shiva Lingam. Another cavity, north of the first hole, is of
about 2 feet by 1 feet and 9 inches deep. This would have been for an image
of Parvati, as suggested
by an inscription of this cave. From the arrangement of the holes, it seems
that Parvati would
have been facing the central deity, in posture of worship perhaps.
Major
feature and attraction of this cave temple is a huge bas-relief carved on its
western wall. Below the platform we see a design similar to the rails seen in
Buddhist stupas. This rail
design is similar to Amaravati stupa, it may be that Mahendravarman or some of the
artist/architect have seen such a design and implemented here. However, this is
just an assumption on the basis of similarity over the design pattern. The main
attraction of the cave temple is the huge bas-relief carved on the western
wall. The bas-relief depicts Lord Shiva as Gangadhara - one who is carrying the
river Ganges.
Shiva is shown
standing in tribhanga posture,
with one leg firmly set upon the ground while the other leg is resting above
the head of a gana. The
left hand of the gana supports
the ankle of Shiva’s leg
while his right hand is carrying a snake. Shiva is shown with four hands, upper right hand is holding
a tress of his hair, upper left hand is holding an akshamala, lower right hand is carrying a snake and lower left
hand is on waist. On his right, Ganga,
depicted in a female form, in Anjali posture
is shown descending over to his tress. Shiva is shown wearing a long jata-makuta, makara kundala in his ears, valayas and keyuras (bracelets). On
his jata-makuta, left side
is shown Chandra (moon)
and right side is a skull.
He is also wearing a yajnopavita.
His lower garment is hanging till his ankles with many folds. Corresponding
to Ganga, on left of Shiva, is a Deer.
There
are two flying Vidhyadharas which
are wearing similar ornaments as Shiva.
Their one hand is raised in adoration while other hand is on their waists. Below
at the base are shown two devotes kneeling on their feet. Both the devotees are
almost similar except the yajnopavita they
are wearing. The left one is wearing four strands of sutra-yajnopavita while the
right one is shown wearing vastra-yajnopavita.
Their one hand is raised in adoration while the other hand is on waist. They
both are shown wearing folded long lower garments.
Behind
these two kneeling devotes are two rishis,
as evident from their beard and jata.
Their one hand is raised in adoration. Many scholars agree that this is one of
the best representation of Gangadhara,
and one of the most magnificent piece of art of the Pallavas. This is taken as precursor
to the bas-relief panels of Mahabalipuram.
There are no dvarpalas on
the front façade. But the inner shrine has a set of dvarpalas. Both the dvarpalas are identical in style
and posture. They are almost facing front but slightly turned towards the
shrine.
Shown
in tribhanga posture
with one leg on the ground and another is bent at the knee joint. They are
standing over the support of their club where palm of one hand is above the
handle of the club, which is almost inside the armpit. Another hand is
stretched along the side of the club. Top of the club, at the joint of the
handle and the heavy base, is a snake entwining over that part. Both are shown
wearing yajnopavita, valayas, keyuras, patra-kundalas and
necklace. Above the head is jata-makuta,
with jata-bhara behind
their head.
There
are many inscriptions found in this cave shrine. They are inscribed on the
pillar faces, over the beam and on the walls. There are inscriptions on the
top, middle and bottom part of the first pillar. The inscriptions on middle
octagonal shaft are engraved on three faces out of the eight. There are
inscriptions on the top, middle and bottom part of the second pillar. The
inscriptions on middle octagonal shaft are engraved on three faces out of the
eight. There are inscriptions on the top, middle and bottom part of the third pillar.
The inscriptions on middle octagonal shaft are engraved on three faces out of
the eight.
There
are inscriptions on the top, middle and bottom part of the fourth pillar. The
inscriptions on middle octagonal shaft are engraved on three faces out of the
eight. There are very few inscriptions, found on inner row of the pillars, as
compared to the front row. There is a verse inscription found on the beam of
the inner row of the pillars which gives the name of the cave shrine. There are
two long verse inscriptions found on the pilasters on either side of the
bas-relief of Gangadhara.
This inscription is very important as it gives the explanation of the relief
and few birudas (titles)
of king Mahendravarman I which
are also found in his other cave temples.
Unique and
interesting inscription is a poem of eight couplets encircling the Gangadhara
panel - possibly composed by the king himself and describing the Gangadhara
panel. Some consider that this poem is also an early example
of dhvani - very sophisticated trend in Indian poetry where for
proper understanding of the verses both the poet and hearer should be on the
same emotional "wavelength".
Like
many other monuments of Pallava period, Lalitankura Pallavesvara Griham is rich
both with artistic and intellectual qualities. Visit to this temple is a
meeting with ancient culture which in many respects surpassed the achievements
of present-day civilization. Most of present-day visitors spend no effort to
appreciate this - they just make a short stop here during their ascent to the
top of Rockfort hill.
