CENTER FOR ART AND ARCHAEOLOGY

Subject: Vishnu: Vishnu the Preserver is most often portrayed holding the militant attributes that symbolize his protective role. Here he holds a chakra (war discus) in his upper right hand and a shankha (conch battle trumpet) in his upper left. His lower left hand makes the gesture of resting on a gada (mace), while his lower right hand is held in abhayamudra (the gesture that allays fear).

Subject: Shiva is shown acting as the support of Ganga, the celestial river, on her descent to earth (Gangadhara).

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. This is the back view of the sculpted image.

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.

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: 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. This is the back view of the sculpted image.

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). Vishnu the Preserver is most often portrayed holding the militant attributes that symbolize his protective role. Here he holds a chakra (war discus) in his upper right hand and a shankha (conch battle trumpet) in his upper left hand. His lower left hand makes the gesture of resting on a gada (mace), while his lower right hand is held in abhayamudra (the gesture that allays fear).

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: 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: 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 invitation and charity) and the left hand is in lolasana (pendant pose).

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: Devi

Subject: Lamp: Priests conducting temple worship require a wide range of ritual paraphernalia that since at least the early Chola period were gifts from devotees. From early Chola times, oil lamps, among the most important ritual objects in a temple, were gifts primarily from members of the merchant and trading community. Lamps are a vital part of the daily puja. The rite of diparadhana or honoring with light consists of waving lamps before the deity. This lamp has a detail of Dipalaksmi figure.

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). Here, Vishnu the Preserver is most often portrayed holding the militant attributes that symbolize his protective role. Here he holds a chakra (war discus) in his upper right hand and a shankha (conch battle trumpet) in his upper left. His lower left hand makes the gesture of resting on a gada (mace), while his lower right hand is held in abhayamudra (the gesture that allays fear). The image included both from and back views of the sculpture.

Subject: Female door guardian

Subject: Kshetrapala: Kshetrapala is a fearsome manifestation that Shiva assumed to ensure the protection of kshetra or sacred site. It a protective and beneficent form of Shiva.

Subject: Siva Vrsbhavahana with Devi, back

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: 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: Vidhivitankara, front and 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: 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.