is more monumental and linear in form, thus avoiding the typical
  ornamentation of the Deccan sculpture. The best example is the ‘Descent
  of the Ganga’ or ‘Arjuna’s Penance’ at Mahabalipuram.
  Sittanavasal, near Pudukkottai in Tamil Nadu is renowned primarily for its
  rock-cut cave temple with its rare Jaina mural paintings. The cave floor, in
  fact, provides slightly elevated beds and pillows carved out of rock, for
  use of the monks. There are about 17 beds, rectangular even-spaces; each
  with a sort of stone pillow. It is likely that on these rock beds the Jain
  ascetics performed austerities such askayotsarga and sallekhana (voluntary
  starvation leading to death).
         They represent one of the best cave paintings of early medieval
  India. These are example of rock-cut architecture based on Jain thought
  and ideologies. They have a close form of Ajanta and Bagh caves. The
  importance accorded to Sittanavasal is not because of its size or grandeur,
  but because of its significance in the history of development of Indian art
  and also because of its exquisite style of depiction, as evidenced by the
  fragments of its remnant murals. The Sittanavasal paintings are regarded
  as a surviving link between the Ajanta paintings (6th century) and the
  Chola paintings of Thanjavur (11th century). They are also classified with
  the Sigiriya (Srigiri) frescoes of Sri Lanka (5th century) and the Bagh
  frescoes in Madhya Pradesh (sixth and seventh centuries).
The Pallavas were orthodox Brahmanical Hindus and their patronage was
responsible for the great reformation of the medieval ages. Most of the
Pallava kings were devotees of Siva, the exceptions being Simhavishnu and
Nandivarman who were worshippers of Vishnu. Mahendravarman I was the
first to be influenced by the famous Saivite saints of the age. Besides
worshipping Siva, he also showed reverence to other Hindu gods. Pallavas
were tolerant towards other religions     like Buddhism and Jainism. However,