The architectural styles of South India’s temples can be broadly categorized as Dravidian and Chalukyan, with the former being primarily found in the Tamil-speaking region and the latter in the Kannada-speaking sections. Though many of the temples in Kerala’s far south and southwest contain features that are distinctly local to the area, the region was influenced by Chalukyan and Dravidian architectural traditions. The massive temples of the Dravidian group are the result of a long, continuous development that has had a profound impact on countless devotees and bystanders.

This development process was closely linked to five great ruling dynasties: the Pallavas (600–900), the Cholas (900–1150), the Pandyas (1100–1350), the Vi Jayangar (1340–1565), and the Nayaks of Madurai (1600–1700). There was a change from the ancient to the medieval during the Pallava era in South Indian history, which corresponds with the post-Gupta period in the North. As demonstrated by the Mamallapuram (Mahabalipuram) group and the oldest temples in Kanchi, the Pallavas essentially established the groundwork for the Dravidian architectural style. Both north and south of India had already parted with the previous Buddhistic traditions by this point. The far South gave rise to two primary styles of temple building during the three centuries of Pallava rule: structural and rock-cut.

Of these, the earlier one was the rock-cut, style (about A.D. 600-700) which consists again of two groups of monuments-the pillared mandapas (halls), and the more elaborate monolithic shrines familiarly known as ‘rathas.’ These mandapas are simple open pavilions excavated into rock with one or more cellas deeply cut into the rock wall. The pillars of these rock-cut shrines which belong to the reign of Mahendravarman, are massive. The shafts are octagonal and the upper and lower parts square in plan.

Its facade consists of a row of pillars 2.13 metres high with heavy brackets of immense size. These early rock-cut shrines found in South and North Arcot, Tiruchirapalli. Chingleput, Krishna, Guntur and Nellore Districts suggest a primitive structure without even so much as a cornice above the pillars. But this elementary design was soon improved upon, with roll cornices and decorative motifs resembling the Buddhist Chaitya arches.

We then come to the second group of rock-cut temples known as the Mahamalla group ( 640-690 A.D.) found in Mamallapuram where the distinctive characteristics of the Pallava style began to take form. In this period cave-temples were still in fashion, but free-standing monolithic shrines came into vogue side by side with cave temples. The heavy, massive pillars of the earlier period are replaced by more slender and ornamental ones, supported by squatting lions.

Bahirawakanda

These temples evidence a new trend in temple architecture in which the pyramidal design becomes prominent with several of the pillared halls being mounted one upon the other. Another group of rock-cut temples of a slightly earlier period, found at Bhairavakonda (North Arcot District) show a different kind of development in that their pillars and capitals are more sophisticated in design. In these pillars we notice the beginnings of the architectural character of the later Dravidian temples.

Rising from sand-filled surrounds, Mamallapuram is now a major tourist destination and a place of pilgrimage for art students, with just a collection of rock-cut and stone-built monuments remaining to mark its former splendor. This historic seaport of Pallava has been battered by waves for over thirteen centuries, and the harsh sea breezes that blow from the sea have destroyed the delicate lithic remains. On the seashore, a sizable granite hill rising from a sand bed measured one kilometer in length, half a kilometer in width, and thirty meters in height.

Mamallapuram

Another 75-meter-long and 15-meter-high granite outcrop could be found to the south of it. These two granite formations served as the raw material used to sculpt this renowned collection of Pallava structures. One side of the second formation is occupied by the well-known sculptured panel known as “Arjuna’s Penance” or the “Descent of the Ganga.” It is an amazing portrait that pays homage to the then-dominant Naga and River cults.