CENTER FOR ART AND ARCHAEOLOGY

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.

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: 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: 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: 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, 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). Shiva wears the makarakundala or the earring of a man on his left ear and the talanka or the earring of a woman on his left ear represents the principle of Ardhanarishwara showing the equality and the complementary nature of both male and female principles in nature.

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: Arivattanayanar, standing. 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.

Subject: Shiva as Pradosamurti with Parvati, back. The Uma Maheswara idols taken on procession as Utsavmurtis on Pradosha or the thirteenth day of every fortnight in the Hindu calendar. A detail from the image. This is the back view of the image.

Subject: Shiva as Pradosamurti with Parvati, detail. The Uma Maheswara idols taken on procession as Utsavmurtis on Pradosha or the thirteenth day of every fortnight in the Hindu calendar. 

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.

Subject: Astra Devar: Astra Devar is a weapon of Shiva made like a trident in copper mounted on a tubular rod or pipe. 

Subject: Ayyanar with Purna and Pushkala: Ayyanar is the protector of forest and hunters. Traditional architectural treatises prescribe a separate temple for Ayyanar in the certain quarters of both Vaishnava and Saiva settlements. He often appears seated on a pedestal, one leg pendant the other pulled up on the seat with a waistcloth hanging around it. To his right is Purna, to his left Pushkala both carrying lilies. 

Subject: Ayyanar with Purna and Pushkala: Ayyanar is the protector of forest and hunters. Traditional architectural treatises prescribe a separate temple for Ayyanar in the certain quarters of both Vaishnava and Saiva settlements. He often appears seated on a pedestal, one leg pendant the other pulled up on the seat with a waistcloth hanging around it. To his right is Purna, to his left Pushkala both carrying lilies. 

Subject: Ganesha is perhaps the most endearing and gentle of gods. He is the elder son of Shiva and Uma Parvati. Ganesha is famed for warding off obstacles and is thus the propitious god of new beginnings. He is also addressed as Ganpati-leader (pati) of Shiva’s dwarf like gana attendants. Here, his upper left hand holds a lasso; the upper right, a battle-ax; the lower left, a sweet; and the lower right, one of his own tusks, which he broke off in a fit of anger and hurled at the moon.

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: 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: 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.

Subject: Subrahmanya, detail: Skanda as Subrahmanya is the South Indian god of war. Skanda has only one head and four arms, holding ritual weapons-head of a spear and a thunderbolt in his upper hands. 

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.

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: 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: Rajapradhani-Brahmadhirajan: The figure is probably a portrait of Brahmana chief who served the Chola monarch as an army commander. He is sparsely dressed with little jewelry on his body and his hands clasped in front carrying a chaplet of flowers. It is known that many Brahmanas served as commanders of the imperial army, especially under Rajaraja I, Rajendra I and his successors, distinguishing themselves in every war. They were given the title Brahmadhirya, king among Brahmanas. This image belongs to the period of Rajaraja I, and is an excellent example of Chola portraiture, of several other examples are known, most of these being set up in the temples as devotees. This is the view of the back of the image.

Subject: Rajapradhani-Brahmadhirajan: The figure is probably a portrait of Brahmana chief who served the Chola monarch as an army commander. He is sparsely dressed with little jewelry on his body and his hands clasped in front carrying a chaplet of flowers. It is known that many Brahmanas served as commanders of the imperial army, especially under Rajaraja I, Rajendra I and his successors, distinguishing themselves in every war. They were given the title Brahmadhirya, king among Brahmanas. This image belongs to the period of Rajaraja I, and is an excellent example of Chola portraiture, of several other examples are known, most of these being set up in the temples as devotees. This is the view of the back of the image.