While Dravida temples have many prakaras, these were additions by various dynasties over a period of time. Compared to this, in Kerala temples, by definition, there are five prakaras called pancha prakaras. In smaller temples you may not find pancha prakaras

The outer walls of the temple have niches for several hundred or thousands of lamps (Vilakku Madams). In big temples these are lit every evening.

The Namaskara Mantapa is a feature that is unique to Kerala temples. This is a place for devotees to gather and offer prayers. This feature is not found in other regions of India

The roof of the Kerala temples are tiled and use the characteristic baked tiles of the Malabar region. Sometimes they may be covered with copper sheets.

Saptha Mathruka Kallus can be seen in Kerala temples as seven small stones representing Brahmani, Maheshwari, Kaumari, Vaishnavi, Varahi, Jatatendrani and Chamunda. They are flanked by Vinayaka and Veera Bhadra.

Balikallus are small stones of three or four inches in height and a few inches in diameter. These are used for placing offerings for directional deities who have a special place in Kerala temples. Each deity also has their own specific requirement of musical instrument, rhythm and dance. Nowadays musicians go around the prakaras while in the earlier times dancers also used to go around the prakaras.

Raja Raja is the most well known of the Chola kings. The Marathas ruled Tanjore, but that was several centuries after the reign of Raja Raja Chola

The temple is structural and is not a monolith. There is no source of granite in the surroundings of the current site. It is believed to have been brought from at least 50 kms away.

Musicians and devadasis were employed by the temple during the construction stage of the temple to take care of the welfare of the labour through music and dance performances

The king Raja Raja wanted to replicate the concept of Meru, which was beloved as the centre of the universe in his kingdom. The Brahaeeswara temple at Tanjore was built by him as Dakshina Meru.

The Shikara is not a single stone as it is popularly believed. It is made of several fragments like an orange. Nevertheless lifting the smaller pieces to that height also would have been a challenge. The other three are challenges that were overcome during construction. To illustrate, after the adhisthana was built the Shiv Ling was installed.