pallava in A Sentence

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    CE was a king of the Pallava dynasty.

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    size royal portrait groups of the Pallava kings, Simhavishnu

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    stone sculptures from the late Pallava to Vijayanagar periods,

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    advantage by the ChalukyasRajasimha Pallava experimented, as it were,

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    This feature is unknown in the Pallava temples, whether cave,

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    To 750 AD is considered the best time of the Pallava kings.

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    would alone be the earliest Pallava painting extant as found so far.

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    The Pallava kings used to be very powerful, and their thinking was very different.

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    Pallava Bagla is Science Editor for New Delhi Television and a globally recognized science writer.

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    The Pallava Kings made Kanchi their capital between the 3rd and the 9th centuries.

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    The last series of Pallava temples dated after AD 730 are small and less interesting.

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    Kailasanarha temple which had come into existence in the Pallava capital some decades earlier.

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    Nandivarman II(Pallavamalla)(c. 731- c. 796 CE) was a Pallava ruler who ruled in South India.

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    and South Arcot districtscomprising the Pallava home province of Tondaimandalam the region situated to the north,

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    which had its emergence even in the time of Rajasimha Pallava as seen in his Kailasanatha at Kanchi,

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    black stone in the ninth century in the time of Pallava Aparajitavarman, one of the last rulers of the dynasty.

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    temple contains on the two side walls of its mandapa two of the most celebrated and famous Pallava sculptures, namely,

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    It was built of hard black stone in the ninth century in the time of Pallava Aparajitavarman, one of the last rulers of the dynasty.

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    In later mandapas of the Pallava- Pandya series, the pillars have attached portrait statues, animal figures or a number of columnettes called ani- yotti- k- kal.

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    It is believed that once a Pallava king tried to displace this stone using seven elephants; unfortunately, the rock retained its position without slipping even an inch.

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    This feature is unknown in the Pallava temples, whether cave, monolithic or structural, but is found in the Chalukyan area and in the far- off temples of the Dieng valley in Java Indonesia.

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    The Shore Temples at Mahabalipuram, a coastal village 50 km south of Madras, was built in the 7th century, during the reign of Rajasimha, and they depict the final flowering of Pallava art.

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    Indian rulers, particularly the Pala and Sena rulers of Bengal and, the Pallava and Chola rulers of south India, tried to encourage this trade by sending a series of embassies to the Chinese emperors.

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    In the Siva shrine of the Tirup- parankunram cave- temple, there is a Somaskanda panel on the rear wall, as in the Pallava cave- temples of the close of the seventh century and subsequent structural temples.

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    The shrine and its axial mandapas stand raised with their adhishthana built over a sub- base, a feature not common in the earlier temples considered above, but usual in later temples of both Chalukyan and Pallava- Pandya derivation.

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    In their vast capital of Hampi, now ruined, there are scores of temples, all of hard stone, exhibiting the traits from one of the two sources, the Chalukya- Rashtrakuta- Hoysala- Kakatiya series, and the Pallava- Chola- Pandya series.

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    Similar panels on the south and north walls of the ardha- mandapa have almost life- size royal portrait groups of the Pallava kings, Simhavishnu and Mahendra with their queens and consorts and with label inscriptions over them indicating their identity.

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    So there was a(king), a younger brother of a Pallava king a century earlier, who had gone off to a foreign land, married the local princess and had become the king and his lineage evidently was still alive somewhere.

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    In addition to the incorporation of the Chalukyan traits noted above, these southern cave- temples, essentially following the Pallava Mahendra- style and hard rock tradition, also reproduce many iconic forms that are found in the Pallava rock- cut and structural examples.

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    The Pallava- Pandya series of temples, and what followed them in material, technique and tradition in the succeeding periods in the farther south, elaborated the shape from the square to the oblong by emphasizing linear rows of taller pillars with wider spans.

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