• Know about the evolution of Pallava Temple Architecture and the key monuments they made.

The Pallavas were great builders who played a significant role in the development of Dravidian architecture. They built some of the most beautiful temples in South India—their architecture and sculpture can be considered one of the most spectacular chapters in the history of South India.

The Pallavas ruled in South India for roughly 600 years between 275 CE to 897 CE with Kanchipuram as their capital. Along with the Cholas and Pandyas, they dominated the political history of South India for many centuries.

Their contribution to the architectural splendour of the south bear testimony to their power. Pallava architecture bridged the transition from rock-cut architecture to structural temples.

This article was first published in the Bharatiya Vidya Bhavan Journal.

It was Mahendravarman I who initiated rock-cut architecture in Pallava country. Some of the cave temples he excavated are the temples at Mandagapathu in South Arcot district, Mamandur and Sivamangalam in North Arcot District and Pallavaram near Chennai. The upper rock-cut cave at Tiruchchirappalli is by far the best of Mahendravarman I’s creations.

The most famous example of Pallava architecture is of course, the monuments at Mamallapuram, a seaport town at the mouth of the Palar River, 56 km south of Chennai. Some historians opine that Narasimhavarman Pallava, the man behind this wonderful set of temples, poured the treasure he had seized from Vatapi during his conflict with the Chalukyas, into this ambitious construction project and was named after him— Maha–mallapuram, ‘City of the Great Wrestler’. It was built on the shore to probably connect the Pallava court directly to the Indian Ocean trade. The talented Pallava sculptors created this architectural marvel on a large granite hill, 100 feet high, half mile in length from north to south and a quarter of a mile wide, and a smaller granite outcrop further south.

The monuments at Mamallapuram can be grouped into rock-cut temples, monolithic structures called rathas, bas relief sculptures carved on open air rocks and structural temples. The temples at Mamallapuram show a natural progression from carving temples out of caves.

Historians believe that the Pallavas intended to outdo the Chalukayan king Pulakeshin II’s (with whom the Pallavas had long standing rivalry) free-standing temples at Vatapi made from blocks of cut stone. This ‘architectural race’ was perhaps a sign that political factors and not necessarily pure devotion, dictated the architectural efforts of the rulers of that period.

There are fifteen cave temples in Mamallapuram and two in Saluvankuppam a village 3 km north of Mamallapuram. The biggest of these caves, the Pancha Pandava cave, was carved along the lines of an ambitious plan of a sanctum in the centre and a circumambulatory path around it.

Detailed caption - Here Lakshmi is depicted on the lotus wearing a peculiar type of crown noticed in Pallava sculpture and svarnavaikakshaka (golden cross-garland on the torso) and hands in position to hold lotuses. The goddess is flanked by 2 nymphs on either side carrying pots filled with water for her bath, which the 2 elephants pour over her head. Right of pic are dvarapalas

The Goddess Durga mounted on a prancing lion, attacking the buffalo-headed demon Mahishasura is one of the most outstanding creations of Pallava art. See pic no 20 in album

There are ten monolithic temples at Mammallapuram among which the most famous are the group of structures called the Pancha Pandava rathas. The five rathas, named after the Pancha Pandavas namely Dharmaraja, Bhima, Arjuna, Draupadi and Sahadeva are on different planes and elevations. Of these, the Dharmaraja ratha is the stateliest and carries a number of the maker’s titles, many of which are also found in the Kailasanatha temple in Kanchipuram. The temple is also called Atyantakama Pallavesvaragraham. To see album pics 1 to 14.

Narasimhavarman Pallava then embarked on a great creative experiment, which, according to some historians, shows the close relationship between art, politics and myths.

This experiment was the bas relief sculptures on open air rocks—the Descent of the Ganga or Arjuna’s Penance carved in a single block of sandstone and profusely bedecked with animals, gods, sages, serpents in a sophisticated visual double entendre. At the centre of the sculpture stands an emaciated sage, balancing on one foot with his sunken eyes fixed on the heavens. Next to him is Shiva extending his hand in blessing. Half-bird, half-human beings called kinnaras are playing on horns, drums and cymbals with a host of animals looking on. Each of them is carved with remarkable realism and attention to detail.

The Descent of Ganga or Arjuna’s Penance is virtually a classical poem in stone. There are two interpretations—one that it represents the story of Sage Bhagirath who prayed to Shiva that the heavenly Ganga be allowed to descend on his densely matted hair and come to the Earth. Another interpretation is that the saint was Arjuna receiving from Lord Shiva the mighty weapon known as Pashupata. Arjuna was a famed archer, while Narasimhavarman Pallava was a wrestler—the mahamalla. The sculpture can thus also be read as a eulogy to the Pallava king, a declaration that, he, like Arjuna had earned the blessings of Lord Shiva.

At the bottom of the sculptures, three sages were carved, probably allusions to King Narasimhavarman, his father King Mahendravarman and grandfather Simhavarman. These sages representing three generations of eminent Pallava kings are without their heads today. It is believed that the Chalukyan King Vikramaditya I, the old Pallava foe, fought and defeated Narasimha Pallava’s young grandson and marched on to Mamallapuram where he ordered the beheading of the three sages in a symbolic move.

Rock-cut architecture was later completely abandoned and structural temples became the Pallava signature. The Pallava artisans naturally found the structural temples more advantageous than rock cut temples because they could be built on plains without hillocks. The structural temples fall into two groups—the Rajasimha group (700-800 CE) and the Nandivarman group (800-900 CE).

There are six examples of the former, three in Mamallapuram (the Shore Temple, Isvara and the Mukunda temples), one at Panamalai in South Arcot district and the temples of Kailsanatha and Vaikunthaperumal at Kanchipuram.

The earliest of the structural temple was the Shore temple. Its excellent workmanship has outlasted the action of wind and sea and the shifting sands of the shore. The next was the Kailasanatha temple at Kanchipuram built mostly during the reign of Rajasimha, though the actual completion of the structure is credited to his son Mahendravarman II and his queen Rangapataka. It displays all the main features of the Pallava style. The vimana in the temple is a further development from that of the Shore Temple and is at once substantial and well-proportioned.

Some of the features of the Kailasanatha temple were later adopted in the Virupaksha temple at Pattadakal by the Chalukyas.

Perhaps the most mature example of Pallava architecture is the Vaikunthaperumal temple at Kanchipuram. Slightly larger than the Kailasanatha temple, its principal parts—cloisters, portico and sanctum—are no longer separate buildings but are amalgamated into a well-articulated structure. To see album of Perumal temple

The second group of Pallava structural temples, the Nandivarman group, mostly consists of small temples and in no way form an advance on the achievements of the previous age. These modest structures were witnesses to the decline of the Pallava power.

The Pallavas were undoubtedly great architects besides being a strong political power in South Indian history.

This article was first published in the Bhavan’s Journal, February 1-15, 2026 issue. This article is courtesy and copyright Bhavan’s Journal, Bharatiya Vidya Bhavan, Mumbai-400007. eSamskriti has obtained permission from Bhavan’s Journal to share. Do subscribe to the Bhavan’s Journal – it is very good.

Also see albums

1. Shore Temple, Mahabalipuram

2. 5 Rathas Mahabalipuram

3. Kailasthanatha Temple, Kanchipuram

4. Vaikuntha Perumal Temple