CENTER FOR ART AND ARCHAEOLOGY

Subject: Shiva's Kirata form: Kiratamurti is Shiva?s form as a hunter. The mythological account of this form is narrated in the Vanaparva of the Mahabharata. While Arjuna was observing severe austerities in the Himalayas, he was about to get attacked by the demon Mukasura who took the form of a boar. Arjuna aimed his arrow at the boar but was stopped by Shiva who was in the form of Kirata (hunter). When Arjuna finally identified Shiva?s identity, he was blessed with the powerful weapon of Pasupatastra.

Subject: Vishnu: Vishnu is portrayed with the militant attributes that symbolize his protective role. He holds a shankha (conch battle trumpet) in his upper left hand. His lower left rests on a gada (mace), while his lower right hand is held in abhayamudra (the gesture that allays fear). The image shows the front and back views.

Subject: Bhairava Kali: The universal mother, the symbol of mercy and affection assumes a terrifying form by wearing upavita (string) of skull, rolling her eyes in anger, baring her teeth and making her hair rise in flames. The goddess as killer of the demons Sumbha and Nisumbha is known as Kali whose purpose is to restore order out of the chaos created by the asuras. She does so by sounding the bell that strikes terror into the heart of the wicked (rear right hand in this image); with the noose she seizes the sinner or the sin (rear left hand); she carried a trident in her front right hand. The skull cup in the front left hand sucks the evil energy. All her acts and attributes are out of compassion for the devotee.

Subject: Somaskanda: Somaskanda is the term used to describe a composition that depicts Shiva and his consort Parvati seated on a throne with their infant son Skanda between them. The four-armed Shiva holds a battle-ax and a deer in his upper hands. His lower right hand is raised in abhayamudra (the gesture of fearlessness). Parvati sits turned towards Shiva. Her left hand bestows grace using the varada-mudra. This subject was especially popular in shrines of the Pallava period (300-850 CE), and continued to be so in the Chola period (850-1267 CE). Both figures have a projecting disc (siras cakra) at the back of their heads. This was used for hanging garlands during pujas (worship) and processions. Four rings at the lower corners of the pedestal allowed the sculpture to be secured to a platform in order to be carried in processions. The Saiva Siddhanta system as developed in the Tamil land lays great emphasis on the concept of Ammai and Appan (i.e., Mother and Father) for Shiva and Parvati. A large number of Somaskanda images exist, in apart because a range of Agamic texts specify that if a temple does not possess the exact image required for a specific ritual procession, Somaskanda bronze can be used as a substitute.

Subject: Mahesvari: In this form, Devi takes the attributes of her consort Shiva. She is seated in the lalitasana (royal ease) posture. This is the back view of the image.

Subject: Mahesvari: In this form, Devi takes the attributes of her consort Shiva. She is seated in the lalitasana (royal ease) posture.

Subject: Skanda: Skanda, the Hindu god of war who was the firstborn son of Shiva. Skanda has obscure origins and probably represents a conflation of a number of Shiva myths. In this figure he holds a lotus bud in each hand. The image shows front and back of the sculpture.

Subject: Vishnu: From the time of the devotional poet-saints through the Chola period, temples became an increasingly prominent part of the Tamil religious landscape. The scale of annual festivals also expanded greatly in Chola times. With this development, the demand for processional icons also increased. Bronze images of Vishnu were the first Hindu metal images being produced toward the end of the Pallava period (750-850 CE). The two rear hands of the sculpted image that usually bear a conch and a discus are now broken.

Subject: Somaskanda: Somaskanda is the term used to describe a composition that depicts Shiva and his consort Parvati seated on a throne with their infant son Skanda between them. The four-armed Shiva holds a battle-ax and a deer in his upper hands. His lower right hand is raised in abhayamudra (the gesture of fearlessness). Parvati sits turned towards Shiva. Her left hand bestows grace using the varada-mudra. This subject was especially popular in shrines of the Pallava period (300-850 CE), and continued to be so in the Chola period (850-1267 CE). Both figures have a projecting disc (siras cakra) at the back of their heads. This was used for hanging garlands during pujas (worship) and processions. Four rings at the lower corners of the pedestal allowed the sculpture to be secured to a platform in order to be carried in processions. The Saiva Siddhanta system as developed in the Tamil land lays great emphasis on the concept of Ammai and Appan (i.e., Mother and Father) for Shiva and Parvati. A large number of Somaskanda images exist, in apart because a range of Agamic texts specify that if a temple does not possess the exact image required for a specific ritual procession, Somaskanda bronze can be used as a substitute.

Subject: Somaskanda: Somaskanda is the term used to describe a composition that depicts Shiva and his consort Parvati seated on a throne with their infant son Skanda between them. The four-armed Shiva holds a battle-ax and a deer in his upper hands. His lower right hand is raised in abhayamudra (the gesture of fearlessness). Parvati sits turned towards Shiva. Her left hand bestows grace using the varada-mudra. This subject was especially popular in shrines of the Pallava period (300-850 CE), and continued to be so in the Chola period (850-1267 CE). Both figures have a projecting disc (siras cakra) at the back of their heads. This was used for hanging garlands during pujas (worship) and processions. Four rings at the lower corners of the pedestal allowed the sculpture to be secured to a platform in order to be carried in processions. The Saiva Siddhanta system as developed in the Tamil land lays great emphasis on the concept of Ammai and Appan (i.e., Mother and Father) for Shiva and Parvati. A large number of Somaskanda images exist, in apart because a range of Agamic texts specify that if a temple does not possess the exact image required for a specific ritual procession, Somaskanda bronze can be used as a substitute.

Subject: Brahma: Brahma is in charge of carrying out the work of creation. In this sculpture he has the attributes associated with his priestly appearance, the prayer beads and the kamandalu or ritual water jar and his matted dreadlocks are piled on his head. Four arms connote superhuman power, and four heads convey the idea that his creative activities spread in all four directions. Brahma featured regularly in one of the three central niches on the exterior sanctum walls of the earliest Chola temples.

Subject: Surya: Surya, the Sun God is represented holding a lotus (padma) in each hand. The god stands frontally in an unflexed position (samabhnaga posture) and has an orblike halo setting off his crowned head. He wears elaborate ornaments including a jeweled crown (ratna mukuta), necklace (hara) and a sacred thread (yajnopavita). Images of Surya had a role to play in temples dedicated to other deities. In the imagery of northern India, Surya regularly wears boots; however in Tamil Nadu, Surya is invariably barefoot as are all other deities.

Subject: Ayyanar with Purna and Pushkala: Ayyanar is the protector of forest and hunters. Traditional architectural treatises prescribe a separate temple for Ayyanar in the certain quarters of both Vaishnava and Saiva settlements. He often appears seated on a pedestal one leg pendant the other pulled up on the seat with a waistcloth hanging around it. To his right is Purna, to his left Pushkala both carrying lilies.

Subject: Ardhanarishvara: The composite figure of Shiva where he is depicted as half male and half female to indicate the shiva-shakti relationship of the unified whole. The right half represents Shiva while the left half represents Parvati. Shiva has the matted locks piled high on his head and leans on his mount, the bull. Parvati's side has a jeweled crown, earring, full breast, broad hips, long skirt, and only one arm.

Subject: Ardhanarishvara: The composite figure of Shiva where he is depicted as half male and half female to indicate the shiva-shakti relationship of the unified whole. The right half represents Shiva while the left half represents Parvati. Shiva has the matted locks piled high on his head. Parvati's side has a jeweled crown, earring, full breast, broad hips, long skirt, and only one arm.

Subject: Brahma, profile: Brahma is in charge of carrying out the work of creation. In this sculpture he has the attributes associated with his priestly appearance, the prayer beads and the kamandalu or ritual water jar and his matted dreadlocks are piled on his head. Four arms connote superhuman power, and four heads convey the idea that his creative activities spread in all four directions. Brahma featured regularly in one of the three central niches on the exterior sanctum walls of the earliest Chola temples.

Subject: Brahma: Brahma is in charge of carrying out the work of creation. In this sculpture he has the attributes associated with his priestly appearance, the prayer beads and the kamandalu or ritual water jar and his matted dreadlocks are piled on his head. Four arms connote superhuman power, and four heads convey the idea that his creative activities spread in all four directions. Brahma featured regularly in one of the three central niches on the exterior sanctum walls of the earliest Chola temples.

Subject: Brahma, profile: Brahma is in charge of carrying out the work of creation. In this sculpture he has the attributes associated with his priestly appearance, the prayer beads and the kamandalu or ritual water jar and his matted dreadlocks are piled on his head. Four arms connote superhuman power, and four heads convey the idea that his creative activities spread in all four directions. Brahma featured regularly in one of the three central niches on the exterior sanctum walls of the earliest Chola temples.

Subject: Brahma: Brahma is in charge of carrying out the work of creation. In this sculpture he has the attributes associated with his priestly appearance, the prayer beads and the kamandalu or ritual water jar and his matted dreadlocks are piled on his head. Four arms connote superhuman power, and four heads convey the idea that his creative activities spread in all four directions. Brahma featured regularly in one of the three central niches on the exterior sanctum walls of the earliest Chola temples.

Subject: Ardhanarishvara: The composite figure of Shiva where he is depicted as half male and half female to indicate the shiva-shakti relationship of the unified whole. The right half represents Shiva while the left half represents Parvati. Shiva has the matted locks piled high on his head and leans on his mount, the bull. Parvati's side has a jeweled crown, earring, full breast, broad hips, long skirt, and only one arm.

Subject: Vishnu: An early bronze sculpture of a seated figure of the Hindu Vishnu. The rear hands that bear the shankha (conch) and chakra (discus) are broken.

Subject: Surya: Surya, the Sun God is represented holding a lotus (padma) in each hand. The god stands frontally in an unflexed position (samabhnaga posture) and has an orblike halo setting off his crowned head. He wears elaborate ornaments including a jeweled crown (ratna mukuta), necklace (hara) and a sacred thread (yajnopavita). Images of Surya had a role to play in temples dedicated to other deities. In the imagery of northern India, Surya regularly wears boots; however in Tamil Nadu, Surya is invariably barefoot as are all other deities.

Subject: Brahma: Brahma is in charge of carrying out the work of creation. In this sculpture he has the attributes associated with his priestly appearance, the prayer beads and the kamandalu or ritual water jar and his matted dreadlocks are piled on his head. Four arms connote superhuman power, and four heads convey the idea that his creative activities spread in all four directions. Brahma featured regularly in one of the three central niches on the exterior sanctum walls of the earliest Chola temples.

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. The patterned lower garment is worn with a girdle. Other details include a sacred cord, keyura armlets, makara kundala ear pendants, garlands on both shoulders, and padasaras (ornaments) on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier.