PM Modi Xi Jinping watch cultural performances at Shore temple Mahabalipuram

Alarippu (3 minutes) : It is a dance performance that symbolizes the offering of respect to God, teacher, and the audience. It is accompanied by the recitation of Sol-fa syllables. Performances of an Indian classical dance form known as 'Bharatnatyam' include Alarippu in the opening sequence.

Purappadu(4 minutes) : In this dance, the dancer expresses himself through various hand gestures and facial expressions which closely follow the verses that are being recited. The performance is marked by high tempo music, quick foot movements, and vigorous drumbeats. 'Purappadu' is a component of the initial part of a 'Kathakali' dance performance. 'Kathakali' is an Indian classical dance form that dramatizes stories which have been mostly adapted from Indian epics through a blend of dance music, and acting. This performance will also include segments that will display of another Indian classical dance form known as 'Mohiniyattam'.

Sethubandhanam(5 minutes): This is an excerpt from Rukmini Devi's six-part series on 'Ramayana'. This scene is from 'MahaPattabhishekam' which was choreographed in the year 1970 by Rukmini Devi, it depicts the building of the bridge across the sea to Lanka - 'Sethubandhanam' - by Sugreeva, Hanuman, Jambavan and others. The lyrics are in Sanskrit and have been taken from Valmini's Ramayan.

Bhajo re Bhaiyya Ram Govind Hari(6 minutes): It is a 'Bhajan' (a devotional song) composed by the 15th-16th Century Indian mystic and saint known as Kabir. It exalts the worship of Lord Rama.

Tilana(6 minutes): It is a dance performance based on the rhythm patterns of a sfamous composition called 'Shanti Nilava Vendum', which seeks to promote the message of peace and harmony.

Shanti Nilava(2 minutes): Shanthi Nilava Vendum is a prayer for global peace which was Mahatma Gandhi's cherished objective.

Performances by: Kalakshetra Sanstha

Backdrop:

SHORE TEMPLE
The Shore temple, an earliest representation of structural temple at Mamallapuram, belongs to the period of Narasimhavarman II alias Rajasimha Pallava (700-728 CE). As this temple stands on the bedrock near the sea it is globally called as sea shore temple. There are two shrines in this complex; one faces east and other faces west named as Kshatriyasimesvaram and Rajasimhesvaram respectively. Both the shrines, similar on plan, consist of a garbhagriha (sanctum) and an ardhamandapa (porch) andare installed with fluted Sivalinga. Behind the Sivalinga is Somaskanda (depiction of Siva and Parvati with infant Skanda) panel which also repeated on the either side walls of the porch. The superstructure of the Kstraiyashimesvaram is larger than that of Rajashimesvaram. It has an additional prakara of low height with small gopura-dvara at the east. In between these two temples, there is a small shrine provided with a cell and small porch and is without superstructure. It enshrines a figure of reclining Vishnu (Narapatima Pallavagriham). The courtyard of the temple complex is partly surrounded by an unfinished enclosure, along which are arranged rows of Nandis.
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EXCAVATED REMAINS AT SHORE TEMPLE:

Sustained removal of the sand in the last few decades, brought to light several buried structures around the shore temple. Unique among them is the early Pallava period bathing-ghat like stepped structure, approximately 200m long. The steps are built of interlocking granite slabs over a laterite core. The intelligent interlocking method used here prevented the slabs form collapsing. This structure is running north to south parallel to the sea. In 1990, the excavation exposed a Bhuvaraha image, a miniature shrine and a well enclosed by an elliptical enclosure. These remains are carved on the bedrock. The miniature shrine, dedicated to Siva, has its sixteen-sided base carved out of the bedrock while the circular wall and superstructure are structural. The Bhuvaraha is shown retrieving the Earth symbolically from the deep ocean.


MAMALLAPURAM

Mahendravarman (580-630 CE), his son Narasimhavaraman-I Mamalla ( 630-668 CE), Paramesvaravarman (672-700 CE) and Narasimhavarman-II Rajasimha (700-728CE) contributed the most in developing Mamallapuram as a centre of art and architecture. Mahendravarman-I, the son and successor of Sihmhavishnu who initiated the rock cut architecture was a poet and a musician and had many titles such as Mattavilasa, Vichitrachita etc. His son Narashimhavarman- I was the most successful and distinguished ruler, and under him the Pallava rule attained its zenith in terms of power and prestige.

The name Mahabalipuram is derived from Mamallapuram, “the city of Mamalla”, a title of Narashimavarman I (630 to 670 CE), the great Pallava ruler of the seventh century, who was responsible for most of the rock-cut temples and carvings at this place.