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were created to be carried outside the temple to participate in daily rituals, processions, and temple festivals. The round lugs and holes found on the bases of many of these sculptures are for the poles that were used to carry the heavy images. The deities in bronze who participated in such festivities were sumptuously clothed and decorated with precious jewellery. Their every need and comfort were catered to by a battery of temple priests, musicians, cooks, devadasis, administrators and patrons. The lay public thronged the processional route to have a darshan and admired their beloved deity for the lavish depiction of the figure and the grand costumes and jewelry.
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1288:, the Nayanmars, other Saiva saints and many more. Though conforming generally to the iconographic conventions established by long tradition, the sculptor could also exercise his imagination within the boundaries of the canonical Hindu iconography and worked in greater freedom during the eleventh and the twelfth centuries. As a result, the sculptures and bronzes show classic grace, grandeur and taste. The best example of this can be seen in the form of
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1010:(ASI). This temple is situated on the banks of the river Kaveri, and is a small temple with beautiful sculptures on every surface. The base of the wall has a row of sculpted mythical animals that were a unique feature of Chola architecture. The first floor is made of bricks which have been plastered.According to historian Harle, the temple is counted among the four early extant temples of the Chola Empire.
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1049:. The temple is covered with exquisite well composed sculptures and friezes some containing comic figures. The entire cornice of the temple tower is embellished with designs of creepers and foliage. Other examples of such temples can be seen at the Vaidyanatha Temple at Tirumalavadi and the Uttara Kailasa Temple at
1361:. When the metal has filled all crevices and has settled and hardened and cooled, the mould is broken off. The bronze figure thus obtained is then cleaned, finer details are added, blemishes are removed, smoothened, and polished well. Hence each bronze icon is unique and the mould cannot be used to create copies.
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black basalt figures in the temple niches of
Dakshinamurti, the image on the southern side of Shiva in a teaching attitude, and to the west, Shiva erupting out of the pillar of light to convince Brahma and Vishnu of his superiority. The front mandapam is in the form of a huge chariot drawn by horses.
1414:
pose, we see Shiva standing with one leg youthfully crossed across the other and his arm elegantly flexed and raised as if resting or leaning on something. In this elegant posture, it can be surmised that the youthful and athletic Shiva is leaning on his bull-vahana, Nandhi, on whose shoulders He is
1300:
While the stone sculpture and the inner sanctum image empowering the temple remained immovable, changing religious concepts during the period around the 10th century demanded that the deities take part in a variety of public roles similar to those of a human monarch. As a result, large bronze images
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is a magnificent structure typical of the stage of architectural development reached in the 12th century CE. This temple has artistic stone pillars and decorations on its walls, in a style bordering on mannerism, with an emphasis on elongated limbs and polished features. Best among them are the dark
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worship, these images are bedecked in silk costumes, garlands, and gem encrusted jewels, befitting the particular avatar and religious context. Decorating temple bronzes in this way is a tradition at least a thousand years old and such decorations are referred to in 10th-century Chola inscriptions.
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This temple carries on its walls the engraved evidence of the elaborate administrative and financial procedures concerning the day-to-day administration of the temple. The inscriptions give, apart from a comprehensive history of the times, a full enumeration of all the metallic images set up in the
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school of architecture. The Chola artists and artisans further drew their influences from other contemporary art and architectural schools and elevated the Chola temple design to greater heights. The Chola kings built numerous temples throughout their kingdom, which normally comprised the plains,
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Although bronze casting has a long history in south India, a much larger and a much greater number of bronze sculptures in all sizes ranging from massive to miniature were cast during the Chola period than before, further attesting to the importance of bronze sculpture during this period. When in
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were prolific builders for their faith. Inscriptions of Aditya I record that he built a number of temples along the banks of the river Kaveri. These temples were much smaller in comparison to the huge monumental structures of the later Cholas and were probably brick structures rather than stone.
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were the first recognisable South Indian dynasty who indulged in the pursuit of architectural innovations. The first seeds of Chola temple architecture in Tamil Nadu were possibly sown during this period. The temple architecture evolved from the early cave temples and monolith temples of
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Central and
Northern Tamil Nadu and at times the entire state of Tamil Nadu as also adjoining parts of modern Karnataka and Andhra Pradesh. In the evolution of the Chola temple architecture we can roughly see three major phases, beginning with the early phase, starting with
1402:
the overall body posture and other accompanying bronzes we can imagine the surroundings and the religious context of the figure of the god or goddess; what instrument or weapon he or she is holding; what he or she is leaning on; and what he or she is doing or about to do.
1116:. In later period Maratha and Nayaks rulers constructed various shrines and gopurams of the temple. In later period when the Sanskrit language was more popular during the Maratha rule the temple was named in Sanskrit as Brihadisvaram and the deity as Brihadisvara.
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has the same construction as in
Thanjavur, but the number of tiers making up the pyramidal body is only eight as against 13 in Thanjavur. The most important difference lies in the introduction of curves in the place of the strong straight lines of the Thanjavur
1548:
Researchers have discovered the technique used in these frescoes. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.
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and Nayaka period. There is gentle grace, a restrained and quiet elegance, an ethereal, out-worldly beauty, and above all else - a life that throbs and pulsates and thereby enlivens the bronze sculpture. By means of the facial expressions, the gestures or
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The entire figure is then coated with clay made from termite hills until the mould is of a necessary thickness. Then the whole thing is dried and fired in an oven with cow-dung cakes. The wax model melts and flows out, while some of it vapourises.
768:
The Cholas in addition to their temples, also built many buildings such as hospitals, public utility buildings and palaces. Many such buildings find mention in their inscriptions and in contemporary accounts. The golden palace that
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or the tower in four diminishing storeys of which the lower three are square and the top circular. Each level is separated from the next by a cornice. The whole structure is surmounted by a dome which in turn is topped with a stone
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being 100 feet square at the base and 186 feet high. The temple, which forms a large rectangle 340 feet long and 110 feet wide occupies the middle of an immense walled enclosure mainly built for defensive purposes. The
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Though the temple of
Gangaikonda Cholapuram follows the plan of the great temple of Thanjavur in most details it has characteristics of its own. From the remains it may be seen that it had only one enclosure wall and a
836:. This architecture style formed the foundation from which the Cholas, who were in close contact with the Pallavas during their periods of decline, took some valuable lessons according to Nilakanta Sastri, in his
1068:, completed around 1009 is a fitting memorial to the material achievements of the time of Rajaraja. The largest and tallest of all Indian temples, it is a masterpiece constituting the high-water mark of
1201:
The Chola style continued to flourish for a century longer and expressed itself in a very large number of temples. Of these two large temples are worthy of comparison to those of
Rajaraja and Rajendra.
1568:
The art of making ornaments of gold and precious stones had reached an advanced stage about the beginning of the 11th century. A large number of ornaments are mentioned in the
Thanjavur inscriptions.
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temple. Numbering about sixty-six, these icons are referred to with a description of the minutest details of size, shape and composition. This alone is a mine of information for the art historian.
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In recent times, many of these priceless Chola bronzes have been stolen from their temples or museums, smuggled out of India and have found their way into the private museums of art collectors.
730:. They utilised the wealth earned through their extensive conquests in building long-lasting stone temples and exquisite bronze sculptures, in an almost exclusively Dravidian cultural setting.
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1139:(crest) rests on a single block of granite weighing 81 tons. It is believed that this block was carried up a specially built ramp built from a site 6 kilometres away from the temple. Huge
1025:(towers) are now extant. Of the third or the northern shrine, the basement alone remains. The architectural style of these shrines exhibit clear concordance with the later Chola temples.
1181:. The pyramidal body is slightly concave in its outline at its angles while the sides are curved to produce a somewhat convex outline. These curves enhance the beauty of form of the
1104:
Epigraphic evidence reveals that
Rajaraja started building this temple in his 19th regnal year and it was completed on 275th day of his 25th regnal year (1010), taking only 6 years.
1545:. These are the first Chola paintings discovered. The passage of the corridor is dark and the walls on either side are covered with two layers of paintings from floor to ceiling.
1477:, the river-goddess whose precipitous fall from heaven to earth is broken by Siva's matted locks. Shiva as Nataraja or Adavallar is also accompanied by his consort Sivakami.
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900:. There are 12 Life sized sculptures of Maha Vishnu present in the temple. These paintings are dated not earlier than the 17th century. The little temple of Nageswara at
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is an example of a surviving early Chola building. The style of this structure clearly shows
Pallava influences in the design. It has an unusual arrangement of a circular
1101:, rising majestically to a height of 190 feet, continues to dominate and it is only in the subsequent period that a change in the gradation of magnitude takes place.
896:- a crest. Very faint traces of paintings can be seen inside on the walls. There are carvings and rock cut temples similar to the Pallava architecture dedicated to
777:
is an example of such a building. However, such buildings were of perishable materials such as timber and fired bricks and have not survived the ravages of time.
1350:) are mixed with a little oil and kneaded well. The figure is sculpted from this mixture fashioning all the minute details. This is the original wax model.
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during the second half of the tenth century. As the name suggests, the temple complex has three main shrines standing side by side in a row dedicated to
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920:
912:
705:
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In 1931, Chola frescoes were discovered within the circumambulatory corridor of the
Brihadisvara Temple, by S.K. Govindasamy, a professor at the
963:. There is also mention of the remuneration to the teachers and students in the form of paddy. The temple is maintained and administered by the
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1147:
figures bejewel the
Vimanam, although it is possible that some of these may have been added on during the Maratha period. The main deity is a
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1143:(figures of the sacred bull) dot the corners of the Shikharam, and the Kalasam on top by itself is about 3.8 metres in height. Hundreds of
57:
2248:
https://web.archive.org/web/20060207215253/http://www.asiasocietymuseum.org/region_results.asp?RegionID=1&CountryID=1&ChapterID=7
1045:. A number of smaller shrines were built during the early phase of this period. Notable amongst these is the Tiruvalisvaram temple near
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1446:, whose fire is held in Shiva's left rear palm. His left front arm crosses his chest, the hand pointing in "elephant trunk" position (
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of the world and in the temples of South India, may be seen many fine figures of Siva in various forms accompanied by his consort
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The maturity and grandeur to which the Chola architecture had evolved found expression in the two magnificent temples of
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and is a huge, set in a two storeyed sanctum, and the walls surrounding the sanctum delight visitors as a storehouse of
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The metal alloy of bronze is melted and poured into the empty clay-mould. This particular bronze alloy is known as
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The Chola period is also remarkable for its sculptures and bronzes. Among the existing specimens in the various
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1233:. The architecture of this temple is similar to the temples at Tanjore, Gangaikondacholapuram and Darasuram.
864:
813:
2218:
https://web.archive.org/web/20060105115131/http://www.pudukkottai.org/places/narttamalai/02narttamalai.html
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period, the Chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit of
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while the Thanjavur temple has two gopuras and enclosures. It is larger in plan though not as tall, the
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402:
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Temple building received great impetus from the conquests and the genius of Rajaraja Chola and his son
1021:, along the north-south direction, facing west. Out of these three, only two, the central and southern
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1081:(gateway towers, here oriented in the same direction). They are architecturally coeval with the main
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expressed in them. They probably synchronised with the completion of the temple by Rajaraja Chola.
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Chola bronzes have little intricate ornamentation in comparison with the subsequent bronzes of the
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The temple stands within a fort, whose walls are later additions built in the 16th century by the
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when the achievements scaled heights never reached before or since and the final phase during the
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951:(c. 1048 CE) and is indicated as an educational institution operating in the temple teaching the
931:, a village, located 23 km (14 mi), in the outskirts of Puducherry. Constructed in the
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https://web.archive.org/web/20060615123255/http://tamilartsacademy.com/books/gcpuram/cover.html
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1465:), while his right rear hand holds a drum with which he beats the measure of the dance. The
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1450:) to his upraised left foot, which signifies liberation. His right foot tramples the dwarf
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1332:. It is known in artistic terms as "Cire Perdue". The Sanskrit Shilpa texts call it the
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History of People and Their Environs: Essays in Honour of Prof. B.S. Chandrababu
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is the largest functioning religious complex in the world and mentioned in the
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Art from the period of the imperial Cholas (c. 850 CE β 1250 CE) in South India
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Shiva's right front hand is raised in the "fear-not" gesture of benediction (
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1469:, an emblem of Siva, curls around his arm. His hair holds the crescent
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https://cosmopolis.ch/a-history-of-the-chola-empire-or-chola-mandalam/
2253:
Devotion in South India: Chola Bronzes, Asia Society Museum exhibition
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Muvarkovil Temple in the Pudukkottai area was built by a feudatory of
1485:
Notable collections of the bronzes are held by the museum inside the
1474:
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and the other gods, demigods and goddesses of the Saivaite pantheon,
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111:
1644:(1st ed.). Alpha Land Published Pvt. Limited. pp. 71β76.
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Spoked chariot wheel, Airavateswarar Temple, Darasuram c. 1200 C.E.
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935:, the temple is a storehouse of Chola architecture and built by
1537:
Chola Fresco of Dancing girls. Brihadisvara Temple c. 1100 C.E.
2144:
Royal Temple of Rajaraja: An Instrument of Imperial Cola Power
29:
1075:
It is in this temple that one notices for the first time two
733:
The Cholas built their temples in the traditional way of the
2080:. State Department of Archaeology, Government of Tamil Nadu.
1501:. Outside India, Chola bronze sculptures are owned by the
2210:
2206:
http://books.guardian.co.uk/review/story/0,,1967587,00.html
939:(907-950 CE). The temple has inscriptions from the time of
2188:
http://www.asia.si.edu/exhibitions/online/chola/chola.htm
2213:- Several articles related to chola art and architecture
1692:
B. S., Chandrababu; S., Ganeshram; C., Bhavani (2011).
1442:. Surrounding Shiva, a circle of flames represents the
749:
and continuing till Sundara Chola, the middle phase of
726:
was an age of continuous improvement and refinement of
1968:
Chopra, P.N; Ravindran, T.K; Subrahmanian, N (2003) .
1185:
though they distract from its stateliness and power.
2201:
https://whc.unesco.org/pg.cfm?cid=31&id_site=250
1970:
History of South India; Ancient, Medieval and Modern
1991:
The art and architecture of the Indian Subcontinent
1642:
Vishnu temples of South India, Volume 4, Tamil Nadu
1418:The most famous of all the bronze icons is that of
1988:
1131:is about 200 feet in height and is referred to as
1112:, the temple is also known in the deity's name as
1438:. He is active, yet aloof, like the gods on the
1159:in a place where there is no source of granite.
1155:and sculptures. The temple is built entirely of
885:- circumbulatory corridor. Above this rises the
110:in the foreground is still much taller than the
1229:which has survived in good repair as built by
699:
8:
2224:http://www.tn.gov.in/trichytourism/other.htm
2165:. Berkeley: University of California Press.
1870:
1868:
1765:
1763:
1328:Chola period bronzes were created using the
1106:Rajaraja named this temple as Rajarajesvaram
2127:. India: Motilal Banarsidass Publications.
2061:. India: Motilal Banarsidass Publications.
1619:. Asian Educational Services. p. 182.
1995:. New Haven, Conn: Yale University Press.
1801:
1799:
1797:
879:(where the deity resides) within a square
706:
692:
117:
2023:. New Delhi: Asian Educational Services.
1972:. New Delhi: S. Chand & Company Ltd.
1213:near Thanjavur built during the reign of
851:The early Cholas built numerous temples.
80:Learn how and when to remove this message
2242:http://www.thebigtemple.com/frescos.html
2042:. New Delhi: Harper Collins Publishers.
1587:
1585:
1583:
1581:
1473:- another emblem - and a small image of
1240:
1221:The final example of this period is the
740:, who were themselves influenced by the
43:This article includes a list of general
2246:Bronze Sculpture of the Chola Period -
1577:
1085:and are referred to in inscriptions as
120:
1093:. In spite of the massive size of the
2230:http://www.thanjavur.com/bragathe.htm
1698:. Bharathi Puthakalayam. p. 35.
1671:. Partridge Publishing. p. 284.
1422:or Adavallar. The symbolism presents
1108:and the deity Shiva in Linga form as
1002:. The temple was constructed by the
765:till the demise of the Chola empire.
7:
2146:. New Delhi: Abhinav Publications.
1135:(Southern Mountain). The octagonal
2110:. What Is India Publishers (P) Ltd
49:it lacks sufficient corresponding
25:
1616:South Indian Shrines: Illustrated
1006:. The temple is protected by the
2257:A history of the Chola empire -
790:Srirangam Ranganathaswamy temple
773:supposedly built for his father
34:
2094:Nilakanta Sastri, K.A (2002) .
2089:. Madras: University of Madras.
2085:Nilakanta Sastri, K.A (1984) .
998:is an example of the period of
933:Dravidian style of architecture
2294:Cultural history of Tamil Nadu
2123:Tripathi, Rama Sankar (1967).
2108:Archaeological Survey of India
1613:Ayyar, P. V. Jagadisa (1982).
1008:Archaeological Survey of India
965:Archaeological Survey of India
923:is dedicated to the Hindu god
1:
245:
146:
2019:Jagadisa Ayyar, P.V (1993).
904:is also of the same period.
2161:Wolpert, Stanley A (1999).
2104:"South Indian Inscriptions"
718:The period of the imperial
678:Legendary early Chola kings
2330:
1640:Madhavan, Chithra (2014).
1603:, Encyclopaedia Britannica
1507:Metropolitan Museum of Art
1491:Government Museum, Chennai
1387:Metropolitan Museum of Art
1312:at the Brihadisvara Temple
994:) at Srinivasanallur near
921:Varadharaja Perumal Temple
913:Varadharaja Perumal Temple
728:Chola art and architecture
638:Great Living Chola Temples
623:Chola art and architecture
2216:Vijayalaya Choleswaram -
2142:Vasudevan, Geeta (2003).
1951:South Indian Inscriptions
1334:Madhu Uchchishtta Vidhana
1070:South Indian architecture
967:as a protected monument.
722:(c. 850 CE β 1250 CE) in
2234:Gangaikondacholapuram -
2211:http://www.varalaaru.com
2193:20 December 2016 at the
2125:History of Ancient India
2096:A History of South India
2012:Total history and civics
1887:Jagadisa Ayyar, p349β353
1876:A History of South India
1862:Jagadisa Ayyar, p293β294
1851:A History of South India
1838:A History of South India
1825:A History of South India
1771:A History of South India
1755:A History of South India
1742:A History of South India
1720:A History of South India
1487:Thanjavur Maratha Palace
1268:, late 11thβ12th century
1066:Siva temple of Thanjavur
838:A History of South India
2197:- The lost wax process.
2014:. Mumbai: morning star.
865:Vijayalaya Choleeswaram
830:Vaikunta Perumal temple
814:Vijayalaya Choleeswaram
64:more precise citations.
2304:Dravidian architecture
2228:Brihadiswara Temple -
2222:Koranganatha Temple -
2057:Majumdar, R.C (1987).
1538:
1499:Indian Museum, Kolkata
1390:
1313:
1308:Detail of a Statue of
1269:
1198:
1091:Keralantakan tiruvasal
1038:
1037:Gangaikonda Cholapuram
979:
916:
848:
847:Vijayalaya Choleswaram
817:
801:
663:Gangaikonda Cholapuram
333:Parantaka II (Sundara)
115:
106:, completed 1010. The
2078:Gangaikondacholapuram
1536:
1521:in San Francisco and
1412:Vrishabavahana murthy
1372:
1307:
1292:, the Divine Dancer.
1244:
1237:Sculpture and bronzes
1196:
1062:Gangaikondacholapuram
1036:
973:
910:
846:
807:
788:
583:Rajahnate of Sanmalan
97:
2076:Nagasamy, R (1970).
2021:South Indian Shrines
1909:Jagadisa Ayyar, p316
1814:Jagadisa Ayyar, p424
1665:Pal, Susant (2014).
1543:Annamalai University
1406:For example, in the
1296:Purpose of the Icons
1225:at Tribhuvanam near
1223:Kampaheswarar temple
1207:Airavateswara temple
343:Aditya II (Karikala)
2038:Keay, John (2000).
1987:Harle, J.C (1994).
1511:Norton Simon Museum
1087:Rajarajan tiruvasal
984:Koranganatha Temple
976:Koranganatha Temple
927:. It is located in
100:Brihadisvara Temple
2309:Chola architecture
1874:Nilakanta Sastri,
1849:Nilakanta Sastri,
1836:Nilakanta Sastri,
1823:Nilakanta Sastri,
1769:Nilakanta Sastri,
1753:Nilakanta Sastri,
1740:Nilakanta Sastri,
1731:Vasudevan, pp21β24
1718:Nilakanta Sastri,
1539:
1495:Pondicherry Museum
1391:
1330:lost wax technique
1324:Lost wax technique
1314:
1270:
1248:with his consorts
1199:
1064:. The magnificent
1039:
980:
917:
849:
818:
802:
800:(500 BCE - 300 CE)
781:Early Chola Period
124:Kings and Emperors
116:
2098:. New Delhi: OUP.
1651:978-81-908445-3-6
1601:Sangam literature
1454:, who represents
1415:resting His arm.
1125:Nayaks of Tanjore
1114:Peruvudaiyarkovil
794:Sangam literature
716:
715:
643:Solesvara Temples
603:Ganges Expedition
588:
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544:Related dynasties
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1310:Rajaraja Chola I
1284:and his consort
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747:Vijayalaya Chola
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1004:Medieval Cholas
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2299:Medieval art
2274:Chola Empire
2162:
2143:
2124:
2112:. Retrieved
2107:
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2011:
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1564:Other crafts
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1463:abhaya mudra
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1359:Pancha Loham
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1189:Later Period
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1128:
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1118:
1113:
1110:Peruvudaiyar
1109:
1105:
1103:
1098:
1094:
1090:
1086:
1076:
1074:
1055:
1040:
1022:
1015:Parantaka II
1012:
981:
974:View of the
958:
952:
929:Thirubuvanai
918:
911:View of the
893:
886:
880:
862:
850:
837:
826:Mamallapuram
819:
767:
763:Kulottunga I
732:
727:
717:
658:Melakadambur
622:
570:of Karnataka
535:
520:Rajendra III
510:Rajaraja III
450:Kulothunga I
441:Later Cholas
423:Athirajendra
413:Virarajendra
403:Rajamahendra
313:Gandaraditya
243:
229:Perunarkilli
202:Killivalavan
132:Early Cholas
91:
76:
67:
48:
18:Chola bronze
1878:, pp424β425
1853:, pp423β424
1552:During the
1523:Rijksmuseum
1436:destruction
1395:Vijayanagar
1346:(a type of
1215:Rajaraja II
1047:Tirunelveli
1000:Parantaka I
992:Maha Vishnu
990:(a form of
941:Parantaka I
937:Parantaka I
925:Maha Vishnu
898:Lord Vishnu
877:garba griha
869:Pudukkottai
857:Parantaka I
834:Kanchipuram
810:Lord Vishnu
724:South India
560:Chodagangas
480:Rajaraja II
393:Rajendra II
383:Rajadhiraja
293:Parantaka I
157:Kulakkottan
62:introducing
2284:Indian art
2268:Categories
1961:References
1782:Keay, p216
1448:gaja hasta
1379:Statue of
1262:Tamil Nadu
1254:Satyabhama
1227:Kumbakonam
1019:Lord Shiva
902:Kumbakonam
873:Tamil Nadu
808:Images of
798:Sangam era
761:period of
618:Chola Navy
562:of Kalinga
373:Rajendra I
363:Rajaraja I
273:Vijayalaya
251: β c.
249: 200
193:Nalankilli
184:Nedunkilli
45:references
2279:Tamil art
2087:The CΕΔ»as
1456:ignorance
1430:dance of
1344:kungilium
1211:Darasuram
1137:Shikharam
1058:Thanjavur
1051:Thanjavur
996:Thottiyam
742:Amaravati
673:Tiruvarur
668:Thanjavur
648:Poompuhar
554:of Andhra
524:1246β1279
514:1216β1256
504:1178β1218
494:1166β1178
484:1146β1173
474:1133β1150
464:1118β1135
454:1070β1120
427:1067β1070
417:1063β1070
407:1060β1063
397:1051β1063
387:1018β1054
377:1012β1044
145:205 BCEβ
114:at right.
104:Thanjavur
70:July 2020
2191:Archived
1515:Pasadena
1452:Apasmara
1444:universe
1432:creation
1420:Nataraja
1382:Nataraja
1290:Nataraja
1023:vimanams
960:Shastras
853:Aditya I
821:Pallavas
367:985β1014
323:Arinjaya
283:Aditya I
277:848β871?
175:Karikala
1953:, Vol 2
1922:, p 186
1918:Chopra
1900:, p 129
1896:Chopra
1558:saivism
1410:or the
1385:at the
1348:camphor
1340:Beeswax
1286:Lakshmi
1278:Parvati
1274:museums
1250:Rukmini
1246:Krishna
1157:granite
1129:vimanam
1095:gopuras
1078:gopuras
882:prakara
828:to the
816:complex
812:in the
796:of the
738:dynasty
735:Pallava
653:Uraiyur
536:Related
460:Vikrama
357:971β987
347:966β971
337:950β980
327:955β956
317:949β962
307:935β949
297:907β955
287:871β907
141:Ellalan
112:gopuras
58:improve
2169:
2150:
2131:
2114:31 May
2065:
2046:
2027:
1999:
1976:
1920:et al.
1898:et al.
1827:, p423
1773:, p422
1757:, p387
1744:, p421
1722:, p420
1702:
1675:
1648:
1623:
1517:, the
1509:, the
1497:, and
1489:, the
1475:Ganges
1428:cosmic
1400:mudras
1374:Bronze
1282:Vishnu
1258:Garuda
1183:vimana
1179:vimana
1174:vimana
1169:vimana
1165:gopura
1153:murals
1149:lingam
1145:stucco
1141:Nandis
1099:vimana
1097:, the
1083:vimana
894:kalasa
888:vimana
720:Cholas
353:Uttama
108:vimana
47:, but
2163:India
1572:Notes
1554:Nayak
1513:, in
1467:snake
1424:Shiva
1377:Chola
1365:Style
1266:India
954:Vedas
867:near
122:Chola
2167:ISBN
2148:ISBN
2129:ISBN
2116:2008
2063:ISBN
2044:ISBN
2025:ISBN
1997:ISBN
1974:ISBN
1949:See
1840:, p5
1700:ISBN
1673:ISBN
1646:ISBN
1621:ISBN
1471:moon
1434:and
1342:and
1252:and
1205:The
1089:and
1060:and
982:The
957:and
919:The
863:The
855:and
753:and
98:The
1209:at
871:in
832:of
102:at
2270::
2106:.
1867:^
1796:^
1762:^
1580:^
1493:,
1458:.
1336:.
1264:,
1260:,
1072:.
1053:.
943:,
840:.
246:c.
147:c.
2175:.
2156:.
2137:.
2118:.
2071:.
2052:.
2033:.
2005:.
1982:.
1708:.
1681:.
1654:.
1629:.
978:.
915:.
707:e
700:t
693:v
255:)
83:)
77:(
72:)
68:(
54:.
20:)
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