CENTER FOR ART AND ARCHAEOLOGY

Subject: Adhikaranandi and Devi: A personified representation of Nandi, the vahana (mount) of Lord Shiva. Adhikaranandi's two back hands hold the battle axe) and the antelope and the two front hands are folded on the chest in the obeisance pose. Since Nandi is chief of Shiva?s ganas (retinues) and exercises his authority (adhikara) over them, he is called Adhikaranandi. Adhikaranandi is accompanied by consort Devi. This is the back view of the image.

Subject: Alingana Candrasekhara or Pradoshamurti: 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 whom he gently embraces, knows as alingana (embracing) Candrasekhara.

Subject: Alingana Candrasekhara or Pradoshamurti, back: 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 whom he gently embraces, knows as alingana (embracing) Candrasekhara.

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 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). The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier. This is the back view of the image.

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 in contrapposto pose 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: Umasahita Candrasekharamurti, Uma detail. 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: Bhiksatana-Kankala, detail of gana: Ganas in Indian sculpture are gnomelike, they dance and make music and are forms of the irrepressible joy of life. Other ganas in Shiva's retinue are caricatures of the human condition, or liberated beings who dwell in Shiva's presence.

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: Daksinamurti, standing. Shiva is the master of music and dance and as he appears as Dakshinamurti teaching the highest truths, as a teacher of music he manifests himself as Veenadhara Dakshinamurti. His love for veena finds frequent reference in the Devaram hymns. The left-hand gesture that holds the Veena instrument across the chest to play the strings is called kataka-mudra. This is the back view of the image.

Subject: Shiva, seated. A bronze sculpture of a seated figure of the Hindu god Shiva. He has four arms and carries a parasu (axe) in his right rear hand, an antelope in his left rear hand. He holds his right fore hand in abhaya mudra (the gesture of protection). One leg is raised upon the throne in lalitasana (position of royal ease).

Subject: Shiva, seated, back. A bronze sculpture of a seated figure of the Hindu god Shiva. He has four arms and carries a parasu (axe) in his right rear hand, an antelope in his left rear hand. He holds his right fore hand in abhaya mudra (the gesture of protection). One leg is raised upon the throne in lalitasana (position of royal ease). This is the back view of the image.

Subject: Shiva, back, detail: A bronze sculpture of a seated figure of the Hindu god Shiva. He has four arms and carries a parasu (axe) in his right rear hand, an antelope in his left rear hand. He holds his right fore hand in abhaya mudra (the gesture of protection). One leg is raised upon the throne in lalitasana (position of royal ease). This is a detail of the back view of the image.

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, back: 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, a long plait of hair extending below the right shoulder, 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: Bhairava, detail: Bhairava is considered to be one of the violent forms of Shiva. He is so called as he protects the universe (bharana) and is also terrific (bhishana). He carries sula (trident), pasa (noose), damaru (drum) and kapal in his four hands and rides a dog. He is shown nude with a third eye and hair of flames. This is a detail of the face of the figure.

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: 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 the consort of Shiva. Here 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 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 the consort of Shiva. Here 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 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 the consort of Shiva. Here 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 on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier.

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 left hand is in lolasana (pendant pose).