About

The Shore Temples of Mahabalipuram are located approximately 58 kilometres from Chennai on the Coromandel Coast, of the Bay of Bengal. These temples were built under the reign of the Pallava rulers. These temples are one of the oldest examples of structural temples, built with blocks of granite as opposed to rock-cut temples, in India.
There are three shrines in this complex, built on a shared, 16m square platform. The main shrine (Kshatriyasimheshwaram) is dedicated to Shiva, as is the smaller second shrine (Rajasimheshwaram). The two shikharas have a pyramidal outline, each individual tier is distinct with overhanging eaves. A small third shrine, between the two, is dedicated to a reclining Vishnu. It has no superstructure.
The main temple faces east so that the sun rays shine on the main deity of Shiva Linga in the shrine. This temple is a five-tiered structure rising 18m high capped by an octagonal capstone and a kalasha. It is built with sculpted granite stones hauled from a nearby quarry.
The smaller shikhara is about half the height of the larger one and has only three tiers. It faces west. The sanctum has an idol of a seated Shiva and Parvati, with a baby Kartikeya on Parvati's lap.
There is a partially mutilated inscription on the north base of the shore temple which mentions the names of the three Jalashayana (resting on water) temples: the Kshatriya-Simha Pallava Ishwara Deva (the largest on the east); the Raja-Simha Pallava Ishwara Dev; and the Pallikondaruliya Deva temple. The inscription appears to mention a gift of gold by the citizens and administrators of the Mamallapuram village, presumably to aid in the construction of these temples.

Mahabalipuram also boasts of the cluster of carved monuments known as the Pancha Rathas (Five Chariots), which lie about a mile south of the Shore Temple, and a little further inland. These five temples are dedicated to the Pandavas - including the Dharamaraja Ratha, Arjuna Ratha, Bheema Ratha, Nakula-Sahadeve Ratha, and the Draupadi Ratha. All of these five are carved out of a single long (67m) stone of granite, which lies in roughly NNE-SSW direction. The construction of these structures was never completed, and the unfinished parts are clearly seen. It is likely that their design is inspired by wood constructions of temple chariots prevalent at that time. While the popular names of the structures are taken from the Pandavas of the Mahabharata, these names are considered to be a misrepresentation as the structures have no link to the Mahabharata epic.
The projections and recesses of the walls of these structures give the appearance of a set of shallow pilasters. The niches created in the walls are of rectangular shape and have carved sculptures of gods, demi-gods and the kings. The skirting around the images include fish and animals. The wall pilasters have curved brackets, and columns on the porch provide support to an overhanging eave. Arch windows occasionally carved with images are located above eaves of some of the structures. Most of the pillars of these structures are in the form of unadroned tapering octagons with lion figures at the base and a cruciform capital.
The Dharmaraja Ratha which, is the southernmost of the structures, is the tallest one at 12m, with a three-storeyed square spire with an octagonal cap-stone. It has a square plan and has a pillared portico running on all four sides. It has a figure of Shiva in his Trimurti form on the North face.
The Bhima Ratha has a rectangular plan (13m x 11m) and has a barrel-vaulted roof, with horse-shoe gavaksha niches at either end. It, too, has pillared portics on all four sides. The end-posts of the portico remain undecorated and incomplete.
The Arjuna Ratha is modeled on similar lines as the Dharmaraja Ratha, but is much smaller in size. It has a square plan and a three-tiered roof with a large, octagonal cap-stone. It has a series of lion-figures which appear to be holding up the platform on which the structure stands. There is a short flight of steps on the west, to access the chariot. A figure of Indra, seated on his mount, Airavat the elephant, is seen carved into the center of the Eastern face.
The Draupadi Ratha is the smallest of the chariots in this complex. It has a square plan. Its roof is shaped like a thatched roof. It has figures of dwara-palikas guarding the entrance, with an ornately carved floral garland above its lintel. It has a short flight of steps and an uncovered porch on the west. The fresco inside this shrine is of mother goddess Durga.
The Nakula-Sahadeva Ratha stands parallel to the other four which stand in one line. It has an apsidal plan. The flight of steps leads on the south to a covered porch with octagonal pillars, with a lion figure at their base.
The complex was carved sometime between the 7th and 8th centuries.
This cluster also has sculpted figures of an Elephant, a Lion, and a Bull.

About half-a-kilometer to the west stands a complex of temples and cave temples, the most prominent feature of which is a large, open-air-bas-relief sculpture depicting the legend of Arjuna's Penance or the Descent of Ganga. The legend depicted in the relief is the story of the descent of the sacred river Ganges to earth from the heavens led by Bhagiratha. There is a large perpendicular fissure in the rock which is naturally occuring. This has been incorporated into the overall scene to give the impression of the Ganga descending from the head tied dreads of Shiva. A water tank was once located at the top of the rock, and when water was released from the tank, it created an impression of the Ganges cascading over the sculpted elements.
Bhagiratha can be seen in the scene just to the left of the cleft, standing on one leg, imploring Shiva's intervention, and Shiva is seen on Bhagiratha's right. There are over 140 figures carved into this relief - humans, demigods, angels, animals all melded into a harmonious whole. The most prominent figures in the relief are a herd of elephants led by two near-life-sized elephants.
Carvings of the nagas in half-serpent half-human form are shown swimming in the river as Ganga descends from the heavens.
A temple is shown at the bottom of the cleft and to its right, designed like the Draupadi chariot. It shows a sage writing and teaching, with students (whose heads are unfortunately missing) arrayed in front.
The relief was created to celebrate the victory of Narasimhavarman I (630–668 CE) over the Chalukya Emperor Pulakesin II.

A triple celled Rock cut Trimurti shrine with Gopis is at the northern end of this complex, attributable stylistically to the early Pallava period, and the reign of King Parameswaravarman (672-700 CE). These three shrines are dedicated to Brahma, Shiva, and Vishnu, with the central shrine of Shiva being slightly larger than the other two. Pairs of dwarapalakas stand guard at the entrance of each of the shrines on the left and right. Hara (garland) elements usually seen on the talas of temples are seen over the entrance. The shrine on the south is for Subrahmanya in the form of Brahmashasta, while the northernmost shrine is dedicated to Vishnu. A niche dedicated to Durga is seen further north of the Vishnu shrine.
A monolithic shrine dedicated to Lord Shiva, known commonly as the Ganesha Ratha since there is a Ganesha idol inside the shrine, lies a little way south of the Trimurti shrine. It is also known as the Atyantakama Pallaveswaram, as per an inscription at the temple site. It has a rectangular plan and a dwi-tala salavimana, or two-storeyed main spire. The narrow mukhamandapa (ante-chamber), has two lion pillars and pilasters.
The Varaha Temple is a rock-cut temple further south of the Ganesha Ratha, and almost directly west of the Arjuna panel. It is one of the most complete rock-cut temples. The temple has an foyer hall, with a shrine cut into the back wall. The shrine projects into the hall. The front has a boulded base with a stepped entrance with low balustrade, a pair of pillars with vyala base and two pilasters at either end of the foyer. There are three elaborately scuplted relief panels in this temple - the Varaha panel, the Gajalakshmi panel, and the Trivikraman panel.
Standing further south on top of the hillock, is the Royagopuram is an incomplet gopuram with high adisthana and door-jambs. It was probably erected in the Vijayanagara period.
The Mahishasuramardini Mandapa is a rock-cut pavilion from the period of the Pallava King Narasimhavarman (7th century CE). The cave has an oblong facade and a row of three cells at the back wall of the centrahrine, with a projecting platform upon which stands a porch with pillars. Three panels in this pavilion depict Shiva-Parvati-Kartikeya in one, Durga in her Mahishasura Mardini form in the second, and Vishnu in his Anantasayana (reclining) form in the third.
The Ishwara Temple stands on top of the hillock of which the lower part has been carved to form the Mahishasuramardini cave, of which the outer wall is well preserved. It is built of whitish-grey granite. The base (pada) has images of Yogi Dakshinamurthi on the south, Tandaveshwara on the West, and Ravananugraha on the north in devakoshthas (niches).
The complex has other temples and cave temples.