During the Pallava (Pallava Dynasty) period, metal sculpture closely followed the canons of contemporary stone sculpture, and the images were almost invariably frontal, though modelled fully in the round, with arms held symmetrically to either side. A greater fluidity of movement is apparent in images of the early Cōla period (10th–11th century AD), and the movements and hand gestures of dance are frequently employed. The Cōla images are unsurpassed in their elegance, sensitive modelling, and balanced tension. During the Vijayanagar period (1336–1565) the ornamentation tended to become more elaborate, interfering with the smooth rhythm of the body, and the postures became more rigid.

The icons range from small household images to almost life-size sculptures intended to be carried in temple processions. A few Buddhist and Jaina images were produced, but the figures mostly represent Hindu divinities, especially various iconographic forms of the god Śiva and Lord Vishnu, together with their consorts and attendants. Also of outstanding quality are the many images of Śiva and Vaiṣṇava saints (the Āḻvārs).

The images are cast by the cire-perdue, or lost-wax, process lost-wax process) (lost-wax process). Final sculptural touches are added to the image after it is cast, with the result that the images are “carved” as well as “modelled.” Important collections of South Indian bronzes are housed in the Thanjāvūr Museum and Art Gallery, in Tamil Nadu, and at the Government Museum in Madras, but the largest number of fine images are in the various temples of southern India.