Five Rathas (also known as Pancha Rathas or Pandava Rathas) is a monument
complex at Mahabalipuram, on the Coromandel Coast of the Bay of Bengal, in the
Chengalpattu district of the state of Tamil Nadu, India.
Five Rathas is an example of Indian rock-cut architecture. The complex was
carved during the reign of King Narasimhavarman I (630-668 CE): the idea of
making monolithic buildings, an innovation in Indian architecture, is
attributed to this reign.
Each of the five monuments in the complex - eight with the animals - resembles
a chariot (ratha) and each is carved on a single, long, granite stone
or monolith that leans slightly in a north-south direction.
Although sometimes mistakenly referred to as temples, the structures were
never consecrated because they were never completed after their creator's
death.
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Entrance to the Five Rathas
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Plan of Five Rathas
Plan Legend:
- Entrance
- Draupadi
- Arjuna
- Bhima
- Dharmaraja
- Nakula-Sahadeva
- Elephant
- Nandi
- Lion
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The Five Rathas seen from the Entrance (Plan No. 1)
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Draupadi Ratha (Plan No. 2)
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Draupadi Ratha seen from north
The Draupadi Ratha is a 3.3 m
(10.8 ft) high stone structure located to the north of the Arjuna Ratha
with which it shares its platform.
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Dedicated to Durga (whose image is carved on the rear wall), the
monument resembles a wooden hut with a curved roof.
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The structure is decorated alternately with carved lions and
elephants.
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Draupadi Ratha
Draupadi, is named after the common wife of
the five Pandavas, heroes of the Mahābhārata.
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Draupadi is known for her beauty, intelligence, and strength of
character.
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Her story is particularly famous for the incident during the game of
dice, where she was humiliated by the Kauravas, and her honor was
saved by the divine intervention of Lord Krishna.
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Draupadi Ratha
It is a temple with a simple, square plan,
with a cella.
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Its roof, reminiscent of thatched roofs, probably recalls village
chapels built of perishable materials and which have not survived.
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This model will remain without a future in stone, but is probably
still important in popular architecture.
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Panorama of Draupadi Ratha
The Ratha has bas-reliefs of
Durga; three images on the outer walls and one on an inner wall.
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Facade of Draupadi Ratha
The plan is that of a simplified
Hindu temple in the Nagara style.
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The walls of Nagara temples are richly adorned with intricate carvings
and sculptures depicting deities, mythological scenes, flora, and
fauna. These carvings are highly detailed and artistically
sophisticated.
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The temples are often built on a raised platform known as a jagati.
This platform can be accessed by a flight of steps and serves as a
base for the temple structure.
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The overall architectural design is characterized by a sense of
verticality, with curving lines and an upward thrust, symbolizing the
ascent to the divine.
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Interior of Draupadi Ratha
The representation of the
sanctuary deity is missing, but a bas-relief panel shows the four-armed
Durga (two are broken) standing, flanked by two kneeling worshippers and
four flying dwarves.
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The goddess Durga facing east is in her Mahishasuramardini form, with
the head of a buffalo.
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Near her are seen devotees, "makaras" (mythical sea creatures) and
"ganas" (mythical and comical dwarves).
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Durga Mahishasuramardini
A powerful manifestation of the goddess Durga, is revered for her heroic
act of defeating the demon Mahishasura.
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Durga Mahishasuramardini is usually depicted riding a lion or tiger,
symbolizing power and courage. She is shown in a dynamic pose,
attacking the buffalo demon Mahishasura, who is often seen either
emerging from a buffalo or being slain by her.
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She is depicted with multiple arms, each holding a different weapon
given to her by various gods. These include a trident, sword, bow,
mace, discus, conch, and a lotus.
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The weapons in her hands are significant, representing the collective
power of all the gods. Each weapon has its own symbolic meaning, such
as the trident for the destruction of evil and the conch for the
spread of righteousness.
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Her face often shows a combination of rage towards the demon and
compassion towards her devotees, symbolizing her protective and
nurturing aspects.
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Durga Mahishasuramardini is considered a powerful source of divine
energy (Shakti) and is often worshiped for strength, protection, and
victory over evil.
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She is adorned with rich garments and elaborate jewelry, symbolizing
her divine status and the wealth of the universe.
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The story of Durga Mahishasuramardini's battle is celebrated during
the festival of Durga Puja, which is one of the most significant
festivals in India, especially in Bengal.
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Arjuna Ratha (Plan No. 3)
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Arjuna Ratha seen from north
The ratha of Arjuna, is a
pyramidal structure smaller than that of the Dharmaraja but homothetic.
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Probably dedicated to Shiva, given the presence of the bull Nandi
lying at the back, this temple has a simple plan, square with
projections, preceded by a vestibule with bare walls.
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Arjuna Ratha seen from north
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Arjuna Ratha seen from west
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Roof of Arjuna Ratha
It is marked by the Dravidian style, as
shown by its pyramidal roof of false decreasing floors.
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Often tiered and pyramid-like, the roofs of Dravidian temples are one
of the most striking features. The topmost point often has a stupika
or kalasha, a small dome-like structure.
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The central temple structure (vimana) often has a steeply inclined
roof with multiple levels, while the entry gates (gopurams) have tall,
ornate towers with intricate carvings.
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Many Dravidian style roofs are made using granite stones, giving them
a solid, enduring appearance.
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These roofs are adorned with detailed sculptures and carvings,
depicting deities, mythological scenes, and intricate floral designs.
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The roofs are not just aesthetically pleasing but also functional.
They are designed to withstand the local climatic conditions,
including heavy rains and strong winds.
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Sculptures on the northwest wall of Arjuna Ratha
Its carved
decoration shows deities associated with the main god.
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On all its sides bas-relief panels show the traditional dvarapala
guardians, royal couples, Shiva leaning over Nandi, Indra over
Airavatha or Vishnu bowing towards Garuda.
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Back wall of Arjuna Ratha
In the center we can see Lord
Indra, the king of the gods and the deity of rain, thunderstorms, and
war in Hindu mythology.
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His majestic vehicle is Airavata, a divine white elephant with
multiple heads and tusks, often depicted as a symbol of royalty,
power, and strength.
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South-west wall of Arjuna Ratha
The central sculpture shows
Shiva, with legs crossed, leaning on Nandi.
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Bhima Ratha (Plan No. 4)
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Bhima Ratha seen from northeast
Bhima, a multi-storey temple
with columns with lion feet, is a free transposition of the organisation
of a Buddhist meeting room (chaitya), dedicated to Vishnu.
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Bhima Ratha seen from southeast
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Facade of Bhima Ratha
This ratha, with a rectangular plan,
is covered in a broken barrel vault. There are small buildings in low
relief on the cornice.
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Southwest wall of Bhima Ratha
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South corner of Bhima Ratha
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Detail of the roof of Bhima Ratha
Kudus (Horse-shoe shaped
dormer windows) depicted on all side along the cornices.
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The kudu is often associated with the shape of a bull's or cow's eye,
symbolizing the all-seeing nature of the divine. It is believed to
radiate the light and splendor of the central icon in the temple's
sanctum.
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The kudu is an aesthetically pleasing motif that adds to the
ornamental richness of the temple's superstructure. It is often
elaborately decorated and serves as a focal point in the temple's
design.
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The kudu is thought to provide a window for the deity to gaze out into
the world, connecting the divine with the devotees. It enhances the
spiritual atmosphere of the temple.
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The kudu motif has evolved from its early forms in rock-cut
architecture to more elaborate and decorative versions in later
structural temples.
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Columns of the facade of Bhima Ratha
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Yali at the base of one temple column
Their presence adds
both aesthetic beauty and a sense of spiritual protection to the
temples.
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Detail of one of the yalis
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Yalis are considered powerful guardians against evil. Placing them at
the entrance of temples or on the base of columns is believed to ward
off negative forces.
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Their composite form—merging elements of several powerful
animals—represents immense strength and valor.
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In Hindu mythology, yalis are also associated with deities like Shiva
and Vishnu, enhancing the spiritual atmosphere of the temple.
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The detailed and intricate carvings of yalis showcase the exceptional
skill of artisans and the rich artistic tradition of South Indian
temple architecture.
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Dharmaraja Ratha (Plan No. 5)
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Dharmaraja Ratha seen from north
Dharmaraja or Yudhishthira,
a temple topped by a three-storey pyramidal structure, unfinished, is
the only one bearing an inscription referring to the Pallava king
Narasimhavarman I.
- It is the tallest monument on the site.
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Dharmaraja Ratha seen from east
Dedicated to Shiva, it is
built on the same principle as Arjuna's ratha, a square plan and a
veranda, a Dravidian roof with two false floors and a cornice with
reductions of buildings.
- We may note the outline of an ambulatory.
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East corner of Dharmaraja Ratha
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On the east side (right) is a representation of Ardhanarishvara, which
is Shiva and his wife Parvati in one androgynous sculpture.
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On the north side (left) is Harihara, another representation of
duality, this one Shiva and Vishnu.
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Ardhanarishvara
The depiction of Shiva united with Parvati
is known as Ardhanarishvara, a composite form that represents the
synthesis of masculine and feminine energies of the universe.
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Ardhanarishvara is depicted as an androgynous figure split into two
halves, with the right side being male (Shiva) and the left side
female (Parvati). This symbolizes the inseparable nature of the male
and female principles.
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The right half, representing Shiva, typically features matted hair, a
crescent moon, a serpent, and a trident. Shiva's attributes emphasize
his ascetic, fierce, and powerful nature.
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The left half, representing Parvati, is adorned with feminine features
such as a sari, jewelry, and a lotus. Parvati's attributes highlight
her beauty, grace, and nurturing aspects.
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The concept of Ardhanarishvara illustrates the cosmic balance and
unity between opposing forces like male-female, creation-destruction,
and asceticism-domesticity.
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This form embodies the idea that the universe is a blend of both
feminine and masculine energies. It stresses the importance of harmony
and balance in life and the interdependence of the sexes.
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The iconography of Ardhanarishvara may vary, but the dual-gender
symbolism remains central. The figure often stands or sits in a
balanced posture, holding symbolic objects like a mirror or a bowl in
Parvati’s hand and a trident or drum in Shiva’s hand.
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In various legends, Ardhanarishvara is believed to have been created
by Shiva to show that Shakti (female energy) is an integral part of
his being, and without it, even a god cannot function effectively.
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Ardhanarishvara is a popular subject in Indian art, sculpture, and
literature, representing the ideal of totality and unity.
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Devotees often worship Ardhanarishvara for blessings of balance,
unity, and harmony in their personal and spiritual lives.
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Ardhanarishvara's depiction is a beautiful representation of the
interconnectedness and equality of all energies in the cosmos.
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Dharmaraja Ratha seen from south
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South corner of Dharmaraja Ratha
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Inscriptions on the south corner of Dharmaraja Ratha
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inscriptions on the south corner of the Dharmaraja Ratha are primarily
in Grantha and Nagari scripts in Sanskrit.
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These inscriptions include royal cognomens and single-word titles,
most of which are attributed to Narasimhavarman I.
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There is also an inscription on the top tier of the temple referring
to it as Atyantakama Pallavesvaram, a title associated with
Paramesvaravarman I.
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King Narasimha Varman
A majestic sculpture believed to be
King Narasimha Varman.
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King Narasimhavarman I, also known as Mamalla, was a significant ruler
of the Pallava dynasty who reigned from 630 CE to 668 CE.
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Narasimhavarman I is best known for avenging his father Mahendravarman
I's defeat by the Chalukya king Pulakeshin II. He successfully
defeated Pulakeshin II in the Battle of Manimangalam in 642 CE and
later captured the Chalukya capital, Vatapi. This victory established
Pallava supremacy in the region.
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He continued and expanded his father's love for art and architecture.
During his reign, the famous Pancha Rathas and other rock-cut temples
at Mamallapuram (Mahabalipuram) were constructed. These structures are
now UNESCO World Heritage Sites.
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Narasimhavarman I maintained diplomatic relations with other regions,
including sending naval expeditions to Sri Lanka to assist the
Sinhalese king Manavamma.
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He was a great devotee of Shiva and supported the Nayanar saints, who
were prominent Shaivite saints. His reign saw a flourishing of
religious and cultural activities.
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His architectural projects and cultural patronage boosted the economy
by creating jobs and attracting pilgrims and traders to the region.
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Roof of Dharmaraja Ratha
The upper levels show a profusion
of representations of the main gods and inscriptions in Pallava script.
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King Mamalla (Narasimhavarman I)
The king is identified by
inscription above this statue.
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He grandly occupies the west corner of the south wall, in the company
of the gods on the other corners, and looking rather like a god
himself.
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West corner of Dharmaraja Ratha
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Facade of Dharmaraja Ratha
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Nakula-Sahadeva Ratha (Plan No. 6)
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Nakula-Sahadeva Ratha seen from southwest
Nakula-Sahadeva,
of apsidal structure, is dedicated to Indra.
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Very unfinished, this Ratha has an original apsidal plan with a porch
supported by mamalla style columns.
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The apsidal design of this Hindu temple is relatively uncommon, but is
found at Aihole and elsewhere in India.
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Facade of Nakula-Sahadeva Ratha
The two-story Vesara-style
temple is 4.90 m (16 ft) high and 5.50 m (18 ft) long.
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It has kutas and salas-style apses like the others, but is unique in
also having jalis.
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West corner of Nakula-Sahadeva Ratha
The deity to whom it
could have been dedicated is theoretically Kârttikeya, Brahmā, Ayyappan
or Indra.
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Northwest wall of Nakula-Sahadeva Ratha
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North corner of Nakula-Sahadeva Ratha
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Elephant (Plan No. 7)
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Elephant
In Hinduism, Airavata is a white elephant that
carries the god Indra.
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Unlike the statue of the five Rathas placed to the east of
Nakula-Sahadeva, Airavata is usually depicted with multiple heads and
four tusks.
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A sculpture of him is found on another part of the Mahabalipuram site
The Descent of the Ganges or Arjuna's Penance.
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Nandi Bull (Plan No. 8)
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Nandi Bull
The white bull Nandi (or Nandin) is lying at the
back of the temple of Arjuna dedicated to Shiva, whose mount and
messenger he is.
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Usually, Nandi is found lying in front of the entrance - and not at
the back - of the temples dedicated to the god where devotees worship
him.
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He is spoken to in the ear and, being located in front of Shiva, he
will transmit the request to him.
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Lion (Plan No. 9)
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Lion
Emblem of the Pallava dynasty or homage to the goddess
Parvati, wife of Shiva, the presence of this animal in front of the
Ratha Draupadi is debated among specialists.
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See Also
Source
Location
