CENTER FOR ART AND ARCHAEOLOGY

Subject: Durga. Durga is the goddess who is addressed as Uma-Parvati in her more passive role as consort and companion of Shiva. As the Powerful Durga, she is the Impassable One, destroyer of demonic forces that threaten the universe, renowned for slaying the buffalo demon. She is invoked for protection. In Tamil Nadu, she is believed to be the sister of god Vishnu and is often shown with his attributes of discus and conch shell. Here she stands resolutely upright, resting her weight equally on both feet and wears a rich array of ornaments, raising her front right hand in the abhaya gesture of protection and resting her left hand on her thigh. 

Subject: Durga, standing, back. Durga is the goddess who is addressed as Uma-Parvati in her more passive role as consort and companion of Shiva. As the Powerful Durga, she is the Impassable One, destroyer of demonic forces that threaten the universe, renowned for slaying the buffalo demon. She is invoked for protection. In Tamil Nadu, she is believed to be the sister of god Vishnu and is often shown with his attributes of discus and conch shell. Here she stands resolutely upright, resting her weight equally on both feet and wears a rich array of ornaments, raising her front right hand in the abhaya gesture of protection and resting her left hand on her thigh. This is the back view of the sculpted image.

Subject: Shiva Tripurantaka. Tripurantaka means Destroyer of Three Cities. In this posture Shiva stands on a lotus pedestal. The left foot is gracefully bent. Two front hands are poised to hold the bow and arrow, while one rear hand holds a battle axe and the fingers of the other support his deer companion. The Tripurantaka form of Shiva embodies the concept of the warrior par excellence. Rajaraja Chola (985-1016 CE) personally related to the victorious form of the Tripuravijaya who provided the emperor with a divine archetype whose blessings would ensure him victory. Kulottunga III, in an allusion to Shiva Tripurantaka assumed the title Tribhuvanaviradeva to mark his conquests. During the annual festival, called the brahmotsava, Tripurantaka images are placed on a decorated temple car and pulled along around the four main streets encircling the village. This procession serves to reassure worshippers of the God’s protection. 

Subject: Shiva Tripurantaka. Tripurantaka means Destroyer of Three Cities. In this posture Shiva stands on a lotus pedestal. The left foot is gracefully bent. Two front hands are poised to hold the bow and arrow, while one rear hand holds a battle axe and the fingers of the other support his deer companion. The Tripurantaka form of Shiva embodies the concept of the warrior par excellence. Rajaraja Chola (985-1016 CE) personally related to the victorious form of the Tripuravijaya who provided the emperor with a divine archetype whose blessings would ensure him victory. Kulottunga III, in an allusion to Shiva Tripurantaka assumed the title Tribhuvanaviradeva to mark his conquests. During the annual festival, called the brahmotsava, Tripurantaka images are placed on a decorated temple car and pulled along around the four main streets encircling the village. This procession serves to reassure worshippers of the God’s protection. This is the back view of the image. 

Subject: Shiva Tripurantaka, detail. Tripurantaka means Destroyer of Three Cities. In this posture Shiva stands on a lotus pedestal. The left foot is gracefully bent. Two front hands are poised to hold the bow and arrow, while one rear hand holds a battle axe and the fingers of the other support his deer companion. The Tripurantaka form of Shiva embodies the concept of the warrior par excellence. Rajaraja Chola (985-1016 CE) personally related to the victorious form of the Tripuravijaya who provided the emperor with a divine archetype whose blessings would ensure him victory. Kulottunga III, in an allusion to Shiva Tripurantaka assumed the title Tribhuvanaviradeva to mark his conquests. During the annual festival, called the brahmotsava, Tripurantaka images are placed on a decorated temple car and pulled along around the four main streets encircling the village. This procession serves to reassure worshippers of the God’s protection. 

Subject: Vidhivitankara, front and back view of the image.

Subject: Vijayaraghava Nayak: Vijayaraghava Nayak (1634-1673 CE) was the fourth and last king of Sevappa Nayak's line. He was defeated in battle by the Madurai Nayak king Chokkanatha Nayak who captured and beheaded him.

Subject: Devi as Uma: Uma/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. Armlets, bracelets, padasaras (ornaments), necklaces and yajnopavita (sacred thread) have also been sculpted.

Subject: Arivattanayanar: Arivattanayanar was the twelfth Nayanar from the group of 63 Shaivite saints who are venerated as great devotees of Shiva. He and his wife routinely offered food to Shiva even during drought. Once he tried to cut his throat with an arrival (sickle) when he was unable to make an offering to Shiva. This is the back side of the image.

Subject: Kali, seated. 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 achieves this by sounding the bell that strikes terror into the heart of the wicked; with the noose she seizes the sinner or the sin so as to free the devotee and the trident is her weapon.

Subject: Kali, seated, back. 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 achieves this by sounding the bell that strikes terror into the heart of the wicked; with the noose she seizes the sinner or the sin so as to free the devotee and the trident is her weapon. The skull cap sucks the evil energy, that is, the blood that drives man to error. All her acts and attributes are out of compassion for the devotee. 

Subject: Parvati, standing. Parvati is standing in tribhanga 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: Parvati, standing, detail. Parvati: Parvati is standing in tribhanga 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: Shiva's Kiratamurti. 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: Candrasekhara with Uma: Although the crescent moon is one of Shiva’s standard attributes, he is referred to as Candrasekhara or the Lord whose locks are crowned with the crescent moon when he's shown in an entirely benevolent form, far removed from his major feats of destruction. The crescent moon symbolizes his power of creation and destruction and adorns the right of Shiva’s tall crown like arrangement of matted locks. He is depicted with his consort Uma Parvati.

Subject: Uma, standing, back

Subject: Uma, standing

Subject: Crown of Raja Serfoji: Serfoji II was the last ruler (1798-1832 CE) of the Bhonsle dynasty of the Maratha principality of Thanjavur. During his time, Thanjavur was one of the most developed princely states in the Indian subcontinent. Serfoji ushered in an era of peace, prosperity and scientific development and pioneered new administrative and educational reforms. His vision helped Thanjavur forge ahead of other princely states and advance into a new age.

Subject: Raja Serfoji: Serfoji II was the last ruler (1798-1832 CE) of the Bhonsle dynasty of the Maratha principality of Thanjavur. During his time, Thanjavur was one of the most developed princely states in the Indian subcontinent. Serfoji ushered in an era of peace, prosperity and scientific development and pioneered new administrative and educational reforms. His vision helped Thanjavur forge ahead of other princely states and advance into a new age. This is the back-left view of the image.

Subject: Raja Serfoji: Serfoji II was the last ruler (1798-1832 CE) of the Bhonsle dynasty of the Maratha principality of Thanjavur. During his time, Thanjavur was one of the most developed princely states in the Indian subcontinent. Serfoji ushered in an era of peace, prosperity and scientific development and pioneered new administrative and educational reforms. His vision helped Thanjavur forge ahead of other princely states and advance into a new age. This is the back view of the image.

Subject: Raja Serfoji: Serfoji II was the last ruler (1798-1832 CE) of the Bhonsle dynasty of the Maratha principality of Thanjavur. During his time, Thanjavur was one of the most developed princely states in the Indian subcontinent. Serfoji ushered in an era of peace, prosperity and scientific development and pioneered new administrative and educational reforms. His vision helped Thanjavur forge ahead of other princely states and advance into a new age. This is a detail from the profile of the image.

Subject: Raja Serfoji: Serfoji II was the last ruler (1798-1832 CE) of the Bhonsle dynasty of the Maratha principality of Thanjavur. During his time, Thanjavur was one of the most developed princely states in the Indian subcontinent. Serfoji ushered in an era of peace, prosperity and scientific development and pioneered new administrative and educational reforms. His vision helped Thanjavur forge ahead of other princely states and advance into a new age. This is the back-left view of the image.