Collections-Virtual Museum of Images and Sounds

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1199 CE

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.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1199 CE

Site Name: Kodalankudi

Date: 1100-1199 CE

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.

Site Name: Kodalankudi

Date: 1100-1199 CE

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.

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

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.

Site Name: Jambavanodai

Date: 1000-1099 CE

Site Name: Jambavanodai

Date: 1100-1199 CE

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.

Site Name: Jambavanodai

Date: 1100-1199 CE

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.

Site Name: Jambavanodai

Date: 976-999 CE

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.

Site Name: Jambavanodai

Date: 1100-1199 CE

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.

Site Name: Jambavanodai

Date: 1100-1199 CE

Site Name: Jambavanodai

Date: 1100-1299 CE

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

Site Name: Jambavanodai

Date: 1100-1199 CE

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 back view of the image.

Site Name: Tiruvengadu / Tiruvenkadu

Date: 900-999 CE

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

Site Name: Thanjavur

Date: 985-1014 CE

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.

Site Name: Thanjavur

Date: 985-1014 CE

Subject: Dakshinamurti, left detail: 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.

Site Name: Thanjavur

Date: 985-1014 CE

Subject: Dakshinamurti, right detail: 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.

Site Name:

Date: 1176-1199 CE

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.

Site Name: Madukkur

Date: 1100-1199 CE

Site Name: Madukkur

Date: 1100-1199 CE

Subject: Ganesha standing, front view: 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.

Site Name: Darasuram/Dharasuram

Date: 1146-1173 CE

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.

Site Name:

Date: 850 CE

Subject: Female attendant

Site Name: Tiruvengadu / Tiruvenkadu

Date: 1000-1025 CE

Subject: Devayani. A detail of the Hindu goddess Devayani, the first consort of the god Kartikeya.

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