Rathas (monolithic cut-out temples)

Another important advancement in the technique of carving monolithic temples, during the reign of Narasimhavarman I Mamalla and subsequently completed by his successors, is the monolithic cut-out temples, popularly known as rathas. Totally eight such rathas can be seen at Mamallapuram, locally known as Draupadi, Arjuna, Dharmaraja, Bhima, Nakula-Sahadeva, Ganesha, Valayankuttai, Northern and Southern Pidari rathas. Of them, the first five are found in a group, accompanied by monolithic gigantic figures of bull, elephant and lion. Of all, the Ganesha ratha is the most finished, both externally and internally, where as, the last three are unfinished and the remaining four are in different stages of workmanship. Indeed these monolithic rathas and bas-relief representation of structural vimana seen in the Ramanuja mandapa, the larger Arjuna penance panel, and at the gabled ends of Nakula-sahadeva, Bhima and Ganesha rathas are in fact imitations of the prevailing structural temples of more perishable nature, probably constructed out of wood, brick and stucco. The basic features of these rathas can be described as following:

Ground plan

On plan the monolithic rathas are simple consisting of only two components namely the distal garbhagriha and the frontal mukhamandapa as seen in the Arjuna and Ganesha rathas. However, in its simplest form even the front mandapa is absent. Such a plan can be seen in the Draupadi-ratha and in the bas-reliefs in the Ramanuja mandapa, Arjuna’s penance panel and others. The Dharmaraja and Bhima-ratha show a variant and evolved form in which the frontal mandapa embraces the central shrine in the centre, making provision for a circumambulatory passage all around it. The garbhagriha can be either four-sided-square as seen in Draupadi, Arjuna and Dharmaraja-ratha or four-sided-rectangular as seen in Bhima and Ganesha-ratha or apsidal as represented in the Nakula-Sahadeva-ratha. Externally, the outer face of the vimana starting from its lowermost member of the adhisthana up to the griva portion may be divided into offset projections called bhadra with recesses in between on its three sides as seen in the case of Arjuna ratha. The mukha-mandapa shares the general ground plan of the vimana with a row of pillars and pilasters at the facade.

Elevation

On elevation, a ratha in general consists of six parts starting from base to top, viz., adhisthana, bhitti, prastara, griva, sikhara and stupi, with an optional upapitha beneath the adhisthana. Among the rathas only the Draupadi and Arjuna ratha share an upapitha. The number of tiers in a vimana and the general ground plan varies and based on this, they can be further divided. In the rathas the vimana is either ekatala as in Draupadi, Bhima, Ganesha, Nakula-Sahadeva or dvitala, as in Arjuna, Valayankuttai, Northern and Southern Pidari or tritala as in the Dharmaraja-ratha. The additional tiers, are always receding than the lower one and they are added by the repetition of the harmya and prastara components, with or without the hara element. The bhitti portion of the vimana is adorned with pilasters and is either plain or intervened by niches enshrining sculptures within. In the case of Arjuna ratha the vimana consists of offset projections carrying niches in them flanked by pilasters. Above the bhitti portion is the prastara comprising of kapota and hara element. The kapota is of roll type adorned with kudu arches with kinnari heads in their opening and vallimandala at the extremities. Beneath the kapota either a frieze of bhutamala or hamsamala is seen. Above the kapota is the hara composed of karnakutas at the four corners with a series of salas separated by harantara in intervals. For the first time panjara is also introduced in the hara over the mukhamandapa of Dharamaraja ratha and on the second tala of the Nakula-Sahadeva ratha. This pattern of bhitti with pilasters and niches carrying sculptures and prastara is carried over in all the talas. However, for the first time in the Northern Pidari ratha the uppermost tala supporting the griva has no hara element. Subsequently in the structural temples, it leads to the introduction of figures of either Nandi or Simha or Gana on the four corners around the griva. Except the Dharmaraja ratha, all the other rathas have no functional upper storey. The sikhara surmounting the vimana is either, octagonal, square, apsidal or rectangular. Based on the shape of the sikhara and number of tiers, a ratha can be broadly classified as ekatala-kutakara (Draupadi ratha), ekatala-salakara (Bhima and Ganesha ratha), ekatala-chapakara (Nakula-Sahadeva ratha), dvitala-Vishnuchchanda (Arjuna ratha and Southern Pidari), dvitala-Brahmachchanda (Northern Pidari and Valayankuttai ratha) and tritala-Vishnuchchanda (Dhramaraja ratha). The si`khara is adorned with mahanasis in the centre of each face with floral and other creeper flourishes along the facets. In the salakara and chapakara form of sikahara, its gabble-ends are provided with miniature representation of ekatala-vimana.

Sculptures

Sculptures of gods, goddesses, celestial couple or royal couples, nymphs, sages, priests, few portrait figures of royal and saintly personages, temple servants, devotees, ganas and animals can be seen adoring the four faces of the rathas in all its tiers. The upapitha shared by the Draupadi and Arjuna ratha is supported alternatively by a row of elephants and vyalas. Apart from these relief sculptures there are also carved monolithic forms of a bull behind the Arjuna ratha, an elephant to the side of Nakula-Sahadeva ratha and a lion in front of the Draupadi ratha. Over the Draupadi ratha entrance and its niches can be seen makara-torana with ganas riding over the makara and ornamental creepers frothing from its gaping mouth.