Collections-Virtual Museum of Images and Sounds

Site Name: Jambavanodai

Date: 1300-1399 CE

Subject: Surya: Surya, the Sun God is represented holding a lotus (padma) in each of the front hand. The back right hand holds a staff and his back left hand shows a writing equipment (kundi palm leaf and pen symbolizing knowledge).The god stands frontally in an unflexed position (in samabhnaga posture) and has a circular halo. 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.

Site Name: Tiruvenkadu

Date: 1048 CE

Subject:

Bhiksatana, detail: A detail from Shiva’s manifestation as Bhiksatana (Enchanting Mendicant) that shows his matted locks are scraped back off his forehead, behind a jeweled headband with a central flame motif.

Site Name: Tiruvenkadu

Date: 1048 CE

Subject:

Site Name: Jambavanodai

Date: 1000-1099 CE

Subject: Subrahmanya and Valli: Subrahmanya as Muruga is adored as the embodiment of youth, beauty and knowledge. Muruga is highly regarded in the Tamil country and his exploits are celebrated in Tamil literature. Subrahmanya is a War God, and Devasenapathi the greatest commander-in chief of the celestials. The sword, shakti, and the shield in the hands of the image symbolize his martial quality. Here is presented with his consort Valli.

Site Name: Jambavanodai

Date: 1000-1099 CE

Site Name:

Date: 1500-1599 CE

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.

Site Name:

Date: 1500-1599 CE

Subject: 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.

Site Name: Thanjavur

Date: 900-925 CE

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. This is a detail of the top part of the figure.

Site Name: Thanjavur

Date: 900-925 CE

Subject: Ardhanarishvara, detail: 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.

Site Name:

Date: 950 CE

Subject: Devi, standing. Devi 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. This is the back view of the image.

Site Name:

Date: 950 CE

Subject: Devi, standing, back. Devi 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. This is the back view of the image.

Site Name: Tiruvidaimardur/Tiruvidaimarudur

Date: 1200-1299 CE

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.

Site Name: Voimedu

Date: 1000-1099 CE

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.

Site Name: Voimedu

Date: 1200-1299 CE

Site Name: Thiruvidaimarudur

Date: 1200-1225 CE

Subject: Manikkavachakar: An interesting facet of Hinduism on the Tamil-speaking region of south India is the emphasis given to the worship of sixty-three Shaiva saints called nayanmars. The Shaiva saints who lived between the sixth and ninth centuries, were part of a community of holy persons who travelled together across the Tamil countryside, stopping to sing the glories of the deity enshrines at each temple. Through the hymns of the saints, the figure of the distant godhead was humanized. Manikkavachakar, minister to Varguna Pandya of Madurai, lived during the second half of the ninth century. En route to the west coast to purchase horses for the Pandyan cavalry, Manikkavachakar encountered Shiva in the guise of a teacher, and used the money instead to build a temple to Shiva. Recalled by the King, Manikkavachakar returned to Madurai and was imprisoned twice, each time Shiva intervened and had him released. Finally, the saint was permitted to leave and join his teacher and his many followers. Manikkavachakar wrote a large corpus of poems that comprise the eighth book of the Tamil sacred canon; some take up the mode of popular songs and adapt them to the glory of Shiva, while others reveal a philosophical bent. Manikkavachakas is portrayed as a teacher thus he holds a palm leaf manuscript in his left hand, his right hand held up in a teaching pose.

Site Name: Tiruvelvikkudi / Tiruvelvikudi

Date: 976-999 CE

Site Name: Voimedu

Date: 1000-1099 CE

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.

Site Name: Melaiyur

Date: 900-999 CE

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.