Palampet (18°16’N; 79°58’E) is an obscure village about 65km. north east of Hanumakonda. The magnificent temple popularly called Ramappagudi (Rudresvara) is regarded as the brightest gem in the galaxy of Medieval Deccan Temples. It is the most elaborate example within a massive stone prakara, 90 metres east-west and 86 metres, north-south and the back door entry to the complex is of recent origin. An inscription on the four faces of the polished black basalt column within a mandapa at the north east of the temple records the pious foundations of the city of Palampet and a lake, perhaps the very lake, caused by Racherla Rudra a loyal General of Kakatiya Ganapati Deva (1213 C.E). Ramappa, whose name became famous and attributed to the lake as well as the temple by the locals, was a great planner of 17th Century C.E. and devotee of the temple for consolidating the lake and the irrigation system of the Kakatiyan times. The main temple facing east has a pyramidal sikhara of brick of four tiers (chatustala) externally cruciform on plan fronted by an antarala (vestibule) with a sukhanasi, roof extending in height upto the thrid bhumi and falling in line with the horizontal decor of the main sikhara. The elevated star-shaped jagati platform two metres high provides ample circumambulatory space around. A notable feature is that the sikhara above the awning is made up of feather-weight spongy bricks specially used here to reduce the weight of the superstructure. The door frames of the sanctum and ardhamandapa are very elaborate and intricately carved with creeper scrolls makara-torana on the lintel and patralata or creepers with inset figures of dancers, couples of geese etc. characterising the entrance door-sakhas.

The dvarapalakas and the idyllic scene of Krishna as muralidhara and the gopikavastrapaharana are splendid specimens of mirror-art over the black basalt. The sabha mandapa had elongated projecting porches on the three sides approached by imposing balustrade

steps. The mattavarana (sloping seat-back) all around carried dwarf pillars which hold the roof. These pillars are famous for their overhanging bracket figures fitted into the mortices. The tall slim and voluptuous nayikas the Nagini, Madanika or Rati, the gaja-vyalas here are master-piece creations of the Kakatiyas. The central natya-mandapa is supported by massive lathe-turned black basalt pillars whose carved facets depict dancing groups, puranic stories, hamsas, etc. The ceiling is octagonal, the intricate workmanship over the architrave in particular the synoptic panels depicting Natya Siva Gajantaka, Tripurantaka are noteworthy examples of lapidary work.

As suggested by G. Yazdani the spirit of the sculptured is plays voluptuous joy and sensuality. Even Ganesa with his protruding belly is represented dancing on the architrave of the central apartment of the hall. These when compared with similar sculpture the contemporary temples of Central India or Orissa particularly Khajuraho and Bhubaneswar show restraint of the Kakatiya artist in depicting amorous poses with more refined charm.

A striking feature that marked the temple is the figure brackets springing from the shoulders (Virakantha) of the outer pillars which supported the ponderous Chajja slabs. Twelve of the consist of female figures while the rest are Vyalis standing on elephant heads carved with considerable skill almost true of life chiselled on highly polished black basalt with great precision and accuracy both in mana and pramana. The exuberance of youth with unfettered emotion particularly seen in a woman, a nude Nagini intoxicated with fervour of youth "impetuous Joie-di-Vivre, convened through delightful swaying in the body line between the youthful bosom, the hip and the slender legs enhancing the grace of the Kakatiyan beauty.

The detached Nandimandapa merits special attention. The recumbent Bull here is a classic example of Kakatiyan art, life-like in appearance, and one can discern the veins under the skin of this stately animal. Other temple units within the compound include a Devi shrine at the north-west the temple of Yoga Narasimha at the south west and a triple shrine, characterising the elaborate southern entrance of the main prakara. Several imposing examples of the triple shrines over the Lake Bund (closer to the Tourist house) and elsewhere in the fields of the village are look worthy and deserve to be preserved.