Kanchi Kailasanatha Temple - Part 2
This is Part 2 of my series on the magnificent and exceptional Kailasanathar Temple in Kanchipuram.
In the previous article, I stood before the temple and wondered where to begin. Before we step into its architecture, sculptures, or inscriptions, it is only right that we first understand the hands that created it.
Who built this temple?
It was the Pallavas.
But the Kailasanathar Temple did not appear suddenly. It is the result of centuries of evolution, an idea that slowly took shape, matured, and finally reached perfection.
The Pallavas – A Dynasty That Shaped the South
The Pallava dynasty ruled from around the 3rd century CE to the 9th century CE, governing a significant part of South India with Kanchipuram as their capital.
They were not just rulers.
They were builders, patrons, thinkers, and visionaries who played a defining role in shaping the cultural and architectural identity of Tamil Nadu.
Like many Indian dynasties, the Pallavas too traced their origins to divine and epic lineages, linking themselves to figures such as Brahma, Drona, and Ashwatthama. These origin stories reflect how kings positioned themselves within a larger sacred tradition.
Leaving aside these legendary beginnings, historical records point to rulers like Virakurcha and later Kumara Vishnu, who established Pallava control over Kanchipuram, a city that would go on to become one of the greatest centres of religion and learning in India.
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| Kanchi Kailasanatha Temple |
From Stability to Expansion
By the time Simhavishnu (6th century CE) ascended the throne, the Pallava kingdom had stabilised. He expanded the empire and laid a strong foundation for what was to follow.
But the real transformation began with his successors.
Mahendravarman I – The Beginning of Stone Temples
With Mahendravarman I (c. 580–630 CE), we witness a turning point.
Until then, temples were largely constructed using perishable materials. Mahendravarman changed that.
He introduced rock-cut architecture in Tamil Nadu. (I would rather say in the northern part of Tamil Nadu, as almost at the same time the Pandyas also started with rock-cut temples in the southern part of the state.)
Across the region, he commissioned cave temples carved directly into hills. These shrines follow a distinct and consistent pattern, now identified by scholars as the Mahendra style. His inscriptions proudly declare that these temples were built “without brick, timber, metal, or mortar.”
What is fascinating is that Mahendravarman was not just a patron of architecture, but also a man of letters. His Sanskrit works like Mattavilasa Prahasana reveal a ruler deeply engaged with art and intellect.
Narasimhavarman I – Expansion and Excellence
His son, Narasimhavarman I (c. 630–668 CE), carried this legacy forward.
A powerful ruler and a capable warrior, he is best remembered for defeating the Chalukyas and capturing their capital, Vatapi (modern Badami). This earned him the title Vatapikonda.
Under him, architecture flourished further, especially at Mamallapuram. The monolithic rathas and sculptural panels there reflect a bold experimentation, moving from carving into rock to shaping entire structures out of it.
The Shift Towards Structural Temples
The next phase is crucial.
During the reign of Parameshvaravarman I (c. 670–700 CE), we begin to see early attempts at structural temples; temples built using assembled stone blocks rather than carved from rock.
The temple at Kuram is often cited as one of the earliest examples of this transition.
This is a silent but significant shift.
The Pallavas were moving from carving architecture to constructing it.
Rajasimha – The Moment of Maturity
All these developments culminate during the reign of Narasimhavarman II (Rajasimha), who ruled in the late 7th and early 8th century CE.
Unlike his predecessors, his reign appears to have been relatively peaceful. And that peace translated into creativity.
Temple architecture reached a new level.
Some of the finest monuments of the Pallava period belong to his time:
- The Shore Temple at Mamallapuram
- The temple at Panamalai
- And above all, the Kailasanathar Temple at Kanchipuram
Here, the journey that began with cave temples finds its full expression in a grand structural form.
A Temple Complex, Not Just a Single Shrine
What makes the Kailasanathar Temple even more fascinating is that it is not just a single structure, but a carefully planned complex.
In front of the main temple, we see a row of miniature shrines, along with a dwarasala, an early form that can be considered a precursor to the later Rajagopuram. These miniature shrines are not incidental additions. They were built by Rajasimha’s queen, Ranga Pataka, and inscriptions recording this are found within the complex, offering us a glimpse into royal patronage extending beyond the king himself.
Further, just after the eastern entrance, we encounter a shrine known as Mahendrameechura Gruham. This was constructed by Rajasimha’s son, Mahendravarman III, adding yet another layer to the temple’s history.
What we see here is not a single phase of construction, but a living complex shaped by successive members of the Pallava royal family.
A Gradual Evolution, Not a Sudden Leap
When we look at Kailasanathar today, it may appear as a complete and perfected creation.
But in reality, it is the result of:
- Experimentation under Mahendravarman
- Expansion under Narasimhavarman
- Transition under Parameshvaravarman
- Perfection under Rajasimha
This step-by-step evolution is what makes the Pallava contribution so remarkable.
They did not merely build temples.
They developed the very language of temple architecture in Tamil Nadu.
Beyond Stone – A Cultural Movement
The Pallava contribution was not limited to architecture alone.
Their period saw the flourishing of:
- Sculpture
- Painting
- Literature
- Religious thought
Tamil Nadu, during this time, emerged as a vibrant centre where art, devotion, and political vision came together.
Temples became not just places of worship, but centres of cultural expression.
Towards Kailasanathar
By the time we reach Kailasanathar, everything is ready:
- The idea of stone temples
- The confidence of structural construction
- The artistic maturity of sculptors
- The philosophical depth of Shaiva traditions
Kailasanathar is not the beginning.
It is the culmination.
And that is why it feels so complete.
Let us meet again in my next part of the series. Till then...
Happy travelling.
You can read my previous articles of the series:
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