The Pallava period is very famous for its high-quality temple art. There was immense progress in the field of architecture and crafts in this era. The special thing about the art of the Pallava period is that the artists of this era gradually started freeing architecture from the influence of wood art and cave art.
Pallava period architecture has been divided into four styles whose names are based on the names of Pallava rulers-
(i) Mahendravarman (first) style- This style developed between 600 AD and 625 AD. This is the early style of the Pallava period. The pillared pavilions built during the reign of Mahendravarman I were constructed in this style. These pavilions are like a hall in which one or two chambers have been constructed in the wall on the side. The entrance pillars are built in a row. All the pavilions are built by cutting the hills, hence they are given a place in the category of rock-cut temples.
(ii) Mamalla style- Due to the development of this style in Mamallapuram, it is also called Mamalla style. Its period is considered to be from 625 AD to 674 AD. A city named Mamallapuram was established on the sea coast near Madras. It was established in his name by Pallava king Narasimhavarman I Mahamall.
Under this style, mainly pavilions or rathas (a stone temple) have been constructed. The number of pavilions is ten. These are more developed than the Mahendravarman style. Among these, Varaha Mandap, Marhish Mandap, and Panch Pandav are notable. Their architecture is also worth seeing. On the rocks of the hill, the scenes of Gangavataran, Sheshshayi Vishnu, the killing of Mahishasura, an incarnation of Varaha, and the holding of Govardhan have been engraved with great liveliness and beauty. Neelkanth Shastri has praised the dramatic impact of these engraved scenes and the clarity of the figures. Another scholar Grousset has appreciated the scene of Gangavataran.
Mamalla-style chariots are famous by the name of 'Seven Pagodas'. Their number is eight. These chariots are- Draupadi Rath, Arjun Rath, Bhima Rath, Dharmaraj Rath, Sahadev Rath, Ganesh Rath, Pidari Rath, and Valaiyaan Kuttai Rath. Five of these chariots are situated on the beach and are known as the five Pandavas. Probably all these chariots were Shiva temples. Apart from their beauty, these monuments are interesting units between the Buddhist cave temples and the huge Dravidian temples. The influence of wood art is also visible in various parts of these chariots. The roofs of some of these chariots are pyramid-shaped and some have a peak. All these chariots are highly commendable from an architectural point of view. In these, figures of gods, goddesses, men, women, animals, and birds have been carved with great vividness.
(iii) Rajsingh style- This style developed between 700 AD and 900 AD. This style is completely free from woodwork. Earlier, temples were built by cutting caves, but in this style, temples have been built independently with the help of stone blocks. The 'Shore Temple' built in Mamallapuram is a very beautiful example of this style. The grandeur and craftsmanship of the temple are worth seeing. One specialty of the temple is that its womb faces the sea. A pavilion was built in the west which is now destroyed. The area built to the west of the pavilion is very ornate.
The developed form of Rajasingha style can be seen in the Kailash temple of Kanchi. It was constructed during the period of Pallava king Raj Singh. A pyramid-shaped peak is built on top of this temple. A separate pavilion has been built in front of it.
The most developed form of the Rajasimha style is visible in the temple of 'Baikunda Perumal' built-in Kanchi. The sanctum sanctorum, pavilion, and entrance of this temple are all completely connected to each other. This temple has a prominent place in Pallava architecture.
(iv) Aparajita style- This style developed in the last phase of the Pallava period. The temple of Bahur is a prime example of this style. In this style, the top part of the pillars was highly developed.
Various styles of Pallava art have great contributions to the development of temple art. The scope of these styles of art was not limited to India only, but the art of South-East Asia and Greater India was also influenced by Pallava art.