not so subtle jab at renunciants who have not
truly left behind desire.
The hills contain 10 carved-out mandapas
(temple areas) with pillars. The largest is 25 feet
wide and 15 to 20 feet high, with a depth of about
25 feet. The mandapas contain reliefs and statues
of VARAHA and VAMANA (AVATARS of VISHNU), the
Sun God SURYA, DURGA, and the special LAKSHMI,
Gajalakshmi, a form showing her being bathed by
celestial elephants.
Several rathas (chariot-shaped temples) can
be found as well—the granite copying in every
detail the shape and form of wooden buildings,
although without finished interiors. They are
dedicated variously to DRAUPADI, Arjuna, BHIMA,
Dharmaraja, and Sahadeva. Some of these are of
the oblong chaitya type, most often associated
with Buddhist architecture.
Finally, there is an elaborate shore temple,
with two towers, all carved from solid granite. It
contains images of both SHIVA and Vishnu, quite
unusual in Indian temples of any era.
Further reading: Michael Lockwood, Mamallapuram: A
Guide to the Monuments (Madras: Tambaram Research
Associates, 1993); M. Purushothama Rao, K. Lalitha,
and M. C. Subramanyam, Mahabalipuram (Madras,
Maps and Atlases Publications, 1970); C. Sivarama-
murti, Mahabalipuram (New Delhi: Archaeological Sur-
vey of India, 1978).
Mahabharata
The Mahabharata (MBh), is one of the two great
Indian epics (the other is the RAMAYANA). It tells
the story of the descendents of BHARATA, the leg-
endary leader of the early Indian tribes. It is the
world’s largest epic, containing at least 100,000
verses. It is often said in India that there is noth-
ing that is not in the MBh and that which is not in
the MBh is to be found nowhere. The story is said
to have been dictated to the god GANESHA by the
sage VYA S A. Vyasa is the teller of the tale for our
own era, but it is considered to have existed long
before. From time to time Vyasa himself plays an
important role in the epic.
The epic recounts a dynastic struggle that took
place near Delhi in northern India. The eldest
son in the dynasty of the Kurus is Pandu, whose
wife, Kunti, has five sons (considered Pandu’s
sons, although each was fathered by a different
god): YUDHISHTHIRA, ARJUNA, BHIMA, Nakula, and
Sahadeva. Collectively they are known as the
PANDAVAS. Because of a curse on Pandu that he
will die if he has sexual intercourse with either
of his wives (Kunti and Madri), Pandu is forced
to give up his claim to the throne in favor of his
blind brother, Dhritarashtra. Dhritarashtra has
100 sons, the oldest of whom is DURYODHANA.
They are known collectively as the KAURAVAS.
Dhritarashtra becomes regent until Pandu’s
sons are of age, when one of them will rightfully
assume the throne. Dhritarashtra is weak-willed
and cannot resist his son Duryodhana’s attempts
to usurp power. The plotting of Duryodhana and
his Kauravas against the Pandavas forms the cen-
tral dynamic in this intriguing story. When their
plot to murder the five Pandava brothers fails, they
fleece them at dice and drive them into exile.
Finally, events culminate in open warfare
between the two camps. The Pandavas are forced
to fight against not only their evil cousins and
uncles, but their venerable guru DRONA and their
grand-uncle BHISHMA. In fact, part of the epic’s
greatness is that the story is not pure black and
white, but instead shows shades of gray on both
sides.
The god KRISHNA serves as the noncombatant
charioteer of the brave Pandava, Arjuna. As the
two pull up to look at the opposing armies before
the war begins, Krishna recites the celebrated
BHAGAVAD GITA, a profound poem that summarizes
Hindu philosophy. On the battlefield of KURUK-
SHETRA a terrible carnage ensues, as the Pandavas
eventually triumph and gain the kingdom.
This epic story is known to all Indians, many
of whom are named for its heroes; place names
in every part of India are taken from this story asK 268 Mahabharata