CENTER FOR ART AND ARCHAEOLOGY

Subject: Main temple, Mandapa, south face

Subject: Main complex west Gopura-top, Siva W/ Linga

Subject: Main complex west Gopura-top, Siva W/ Linga

Subject: Kalyanasundaramurti, fragment

Subject: Uma, broken from Uma-Mahesvara

Subject: Gauri-Sankara

Subject: Uma-Mahesvara, seated on Nandi, detail

Subject: Mulaprasada, north bhadra, Uma-Mahesa

Subject: Uma-Mahesvara

Subject: Uma-Mahesvara, seated

Subject: Siva-Parvati, bust

Subject: Uma-Mahesvara

Subject: Ardhanarisvara, standing

Subject: Main temple, south bhadra, east end detail

Subject: Hara-Gauri

Subject: Uma-Mahesvara

Subject: Uma-Mahesvara, seated

Subject: Uma-Mahesvara, seated on Nandi, detail

Subject: Uma-Mahesvara, seated

Subject: Uma-Mahesvara, seated

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. 

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 most frequently portrayed as the handsome bridegroom, with lotus flower in one hand and a staff in the other. He wears large circular earrings, several necklaces and a short waist-cloth held in place with a girdle and a large clasp. This is the front view of the image.

Subject: Kali, seated