Collections-Virtual Museum of Images and Sounds

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Siva Vrsbhavahana with Devi, standing

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Siva Vrsbhavahana with Devi, back

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Siva Vrsbhavahana with Devi, standing

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Siva Vrsbhavahana with Devi, standing

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Siva Vrsbhavahana form

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Siva Vrsbhavahana form, detail

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Siva Vrsbhavahana form, detail

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1012 CE

Subject: Devi of Siva Vrsavahana, standing, detail

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1012 CE

Subject: Devi of Siva Vrsavahana, standing, detail

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1012 CE

Subject: Devi of Siva Vrsavahana, standing, detail

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1012 CE

Subject: Devi of Shiva as Vrishabha Vahana Deva, detail. Parvati is the consort of Shiva, here standing in the thrice-bent or tribhanga pose that was preferred by the Chola artists. Her right hand is in kataka mudra; the left arm in lola hasta. The hair is dressed into a high bun. The patterned lower garment is worn with a girdle. Other details include a sacred cord, keyura armlets, makara kundala ear pendants, and padasaras on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Devi of Shiva as Vrishabha Vahana Deva, detail. Parvati is the consort of Shiva, here standing in the thrice-bent or tribhanga pose that was preferred by the Chola artists. Her right hand is in kataka mudra; the left arm in lola hasta. The hair is dressed into a high bun. Behind the head there is a flowerlike siras cakra (disc for hanging garlands). Other details include a sacred cord, keyura armlets, makara kundala ear pendants and padasaras on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier. This is the back view of the image.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Devi of Shiva as Vrishabha Vahana Deva, detail: Parvati is the consort of Shiva, here standing in the thrice-bent or tribhanga pose that was preferred by the Chola artists. Her right hand is in kataka mudra; the left arm in lola hasta. The hair is dressed into a high bun. Behind the head there is a flowerlike siras cakra (disc for hanging garlands). Other details include a sacred cord, keyura armlets, makara kundala ear pendants and padasaras on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1011 CE

Subject: Devi of Shiva as Vrishabha Vahana Deva. Parvati is the consort of Shiva, here standing in the thrice-bent or tribhanga pose that was preferred by the Chola artists. Her right hand is in kataka mudra; the left arm in lola hasta. The hair is dressed into a high bun. The patterned lower garment is worn with a girdle. Other details include a sacred cord, keyura armlets, makara kundala ear pendants, and padasaras on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1199 CE

Subject: Rajapradhani-Brahmadhirajan: The figure is probably a portrait of Brahmana chief who served the Chola monarch as an army commander. He is sparsely dressed with little jewelry on his body and his hands clasped in front carrying a chaplet of flowers. It is known that many Brahmanas served as commanders of the imperial army, especially under Rajaraja I, Rajendra I and his successors, distinguishing themselves in every war. They were given the title Brahmadhirya, king among Brahmanas. This image belongs to the period of Rajaraja I, and is an excellent example of Chola portraiture, of several other examples are known, most of these being set up in the temples as devotees.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1199 CE

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1199 CE

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1199 CE

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1099 CE

Subject: Pattinattar: Pattinattar is one of the most famous Tamil Saivite saints. This is the front view of the image.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1099 CE

Subject: Pattinattar: Pattinattar is one of the most famous Tamil Saivite saints. This is the profile of the image.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1025 CE

Subject: Sundaramurti Nayanar & Parvai Nachiyar. Saint Sundarar (handsome one) lived in the early years of the eighth century and acquired the epithets of “insolent devotee” and “the lord’s friend” because of the familiar tone toward Shiva that he adopted in his songs. His mode ranges from gentle ridicule through impudence to almost abusive demand. According to the legends, the youthful Sundarar, born of Brahmin parents, stood decked as a bridegroom when an aged man intervened and stopped the wedding, claiming that Sundarar was his bonded slave. Sundarar responded by repeatedly calling him a madman but when papers confirming his bondage were produced and validated by the village council, Sundarar had no choice but to follow his new master. Sundarar is shown with his wife Paravai. As Sundara was bought up by the local chieftain, he is shown with princely attire and as a charming youth well suited to his name, Sundara, the beautiful.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1025 CE

Subject: Sundaramurti Nayanar and Paravai Nachiyar: Saint Sundarar (handsome one) lived in the early years of the eighth century and acquired the epithets of “insolent devotee” and “the lord’s friend” because of the familiar tone toward Shiva that he adopted in his songs. His mode ranges from gentle ridicule through impudence to almost abusive demand. According to the legends, the youthful Sundarar, born of Brahmin parents, stood decked as a bridegroom when an aged man intervened and stopped the wedding, claiming that Sundarar was his bonded slave. Sundarar responded by repeatedly calling him a madman but when papers confirming his bondage were produced and validated by the village council, Sundarar had no choice but to follow his new master. Sundarar is shown with his wife Paravai. As Sundara was bought up by the local chieftain, he is shown with princely attire and as a charming youth well suited to his name, Sundara, the beautiful. This is the back view of the image.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1025 CE

Subject: Nayanar, detail: Saint Sundarar (handsome one) lived in the early years of the eighth century and acquired the epithets of “insolent devotee” and “the lord’s friend” because of the familiar tone toward Shiva that he adopted in his songs. His mode ranges from gentle ridicule through impudence to almost abusive demand. According to the legends, the youthful Sundarar, born of Brahmin parents, stood decked as a bridegroom when an aged man intervened and stopped the wedding, claiming that Sundarar was his bonded slave. Sundarar responded by repeatedly calling him a madman but when papers confirming his bondage were produced and validated by the village council, Sundarar had no choice but to follow his new master.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1025 CE

Subject: Parvati Nachiyar, standing, detail. Parvai Nachiyar was the first wife of Shaivite saint Nayanar. In the course of his wanderings, singing the praise of Shiva, Nayanar reached the temple at Tiruvarur where he met the dancer Paravai Nachiyar and married her. This is a detail of the image. The Cholas were greatly fascinated by the life and works of Sundararamurti Nayanar. Bronze images of both Sundaramurti and Paravai were also made and consecrated in the same temple during Rajaraja's reign. Ever since, every Shiva temple came to be endowed with metal images of Sundaramurti and Paravai and received regular worship.

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Tanjore Art Gallery and Museum, Thanjavur