CENTER FOR ART AND ARCHAEOLOGY

Subject: Makara

Subject: Makara

Subject: Makara

Subject: Makara

Subject: Railing, west entrance, pillar, east face, makara issuong lata

Subject: Srikovil, west wall, jali panjara, makara foliage

Subject: Parvati, 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 and makara kundala ear pendants.

Subject: Boat. Tarakasi is a type of silver filigree work from Cuttack. Temples across Odisha possess silver filigree works offered by devotees as votives and gifts on festive occasions. Decorative artifacts such as these boats on a makara (legendary sea creature) are preferred mementoes and souvenirs for tourists.

Subject: Shrine door lintel, top left corner, part of makara torana, flying vidyadhara

Subject: Shivakamasundari: Parvati stands on a lotus pedestal over a square Bhadra Sana, has a karandamakuta (crown resembling a basket) on her head. She wears makara kundalas in her ears. Her right hand is in the attitude of ahuyavarada (gesture of fearlessness) and the left hand is in lolasana (pendant pose). This is back view of the image.

Subject: Left aisle, front pilaster, detail, carving of makara in lotus medallion

Subject: West Facade, Niche: Siva dancing; Lintel above niche: Makara scroll and chaitya arch with Siva and Parvati

Subject: Ardhamandapa, Makara on roof, details

Subject: Vimana, east wall, bhadra devakostha, makara torana, detail

Subject: Lakshmi facing left standing on a makara to the left, holding a long-stemmed lotus in her left hand, her right hand extended to her side; behind a tall crescent-tipped and filleted scepter [Gold Dinar, Reverse, Tiger-Slayer type]

Subject: Main Hall, Shrine, Throne Back, left portion: Naga, makara and crane

Subject: Shivakamasundari: Parvati stands on a lotus pedestal over a square Bhadra Sana, has a karandamakuta (crown resembling a basket) on her head. She wears makara kundalas in her ears. Her right hand is in the attitude of ahuyavarada (gesture of invitation and charity) and the left hand is in lolasana (pendant pose).

Subject: Right aisle wall, makara torana arch, detail

Subject: Hall, pillar, painted lions and makara head on the pillars shaft

Subject: Parvati: 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, garlands on both shoulders, and padasaras on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier.

Subject: Parvati: Parvati is seated on a lotus pedestal over a rectangular Bhadra Sana. She is adorned with a karanda makuta and her ears with makara kundalas. She has two hands; the right one is portrayed as ahuyavarada (hand gesture of invitation and charity) and the left is kept on the seat upturned. She has three necklaces and other usual ornaments. This is the profile view of the image.

Subject: Mandapa pillar, detail: makara scroll and Kirttimukha

Subject: Parvati: Parvati is standing in tribhanga (triple bent) pose on a lotus pedestal over a bhadra peetah. The hands are seen in kataka and Iolahasta. She has a karanda mukuta and makara kundalas. Traces of trivali (three folds) can be seen on the abdomen. The waist zone is elaborately worked with tassels hanging from the sides and the center. Armlets, bracelets, padasaras (ornaments), necklaces and yajnopavita (sacred thread) have also been sculpted.

Subject: Vakataka period ornamentation: Makara and gandharva separated by vertical floral borders