From the Publisher The work explores the physical and emotional interaction between Siva and Parvati as represented in sculptural works in the Indian subcontinent. In two volumes, it examines a host of images supported by classified of Siva-Parvati figures in texts like the Saiva Agamas and icon graphic studies of the past decades. It surveys an astounding sculptural diversity of Siva-Parvati icons particularly from of seated or standing Umasahita-murti, standing Alingana murti and Tantric forms of the deities. The images are related not only to religious beliefs but also icon-ographical research - for instance, linking depiction of figures in certain postures and areas to their places of origin. With numerous charts, it highlights iconographical peculiarities, distribution and popularity, and identifies similarities and differences over periods of time and areas of making. Referring to sculptural collections in museums and private acquisitions, the painstaking research examines the sculptor's technique of combining aesthetic harmony and beauty with the sacred in ontological symbols as of Uma-mahesvara. There is a detailed mythological background concentrating on the individual character of Siva and Parvati in their mutual relationship; their marriage and conjugal life; explicitly Saiva motifs where the major concern is with the all-important Lord Siva; and the physical and emotional interaction of Siva and Parvati as man and wife. An entire volume is devoted to reproduction of the rich representative sculpture studied through more than 570 black and white photographs and over 160 colour plates. The volumes will prove useful for scholars of Indological art and art connoisseurs well as general readers. Author Description Prof. Thomas Eugene Donaldson of Cleveland State university is a leading authority on Indian art, particularly Orissa art, as he has been studying and writing on the subject for more than three decades. His works include a monumental three-volume study titled Hindu temple Art of Orissa (1985-87), Kamadeva's Pleasure Garden in Orissa (1987), Sculptural Masterpieces from Orissa: Style and Iconography, coauthored with K. S. Behera (1998), Ornaments of Orissa, co-authored by R. P. Mohapatra (1998), Iconography of Vaisnava image in Orissa (2001), and The Iconography of the Buddhist Sculpture of Orissa - 2 vols. (2001), Tantra and Sakta Art of Orissa - 3 vols. (2002). He is currently engaged in an in-depth study of "Bhairava" and "Camunda" images of the Hindu pantheon. CONTENTS Vol. 1 ACKNOWLEDGMENTS v ABBREVIATIONS xv SYMBOLS xvii MAP xix KEY TO TRANSLITERATION xx LIST OF ICONOGRAPHICAL CHARTS xxi LIST OF COLOUR PLATES xxiii LIST OF BLACK & WHITE PLATES xxxvi INTRODUCTION 1 PART I: MYTHOLOGICAL BACKGROUND 1 SIVA AND PARVATI 11 Siva's Hermitage 11 Birth of Parvati 13 Seduction of Siva 16 2 MARRIAGE AND CONJUGAL LIFE 20 Marriage Procession 21 Kalyanasundara (Marriage of Siva and Parvati) 22 Dice-playing and Quarrels 26 Birth of Skanda (Karttikeya) 31 Recumbent Mother and Child (Sadyojata/Grhapati Siva) 35 Seated Devi Holding a Child 39 3 ANUGRAHA-MURTI 44 Ravananugraha-murti 44 Candesanugraha-murti 46 Visnvanugraha-murti (Cakradana-murti) 47 Kiratarjuna-murti 48 4 ANCILLARY MOTIFS OF SIVA AND PARVATI 50 Bhiksatana-murti 51 Gangadhara-murti 55 Ardhanarisvara 60 Vinadhara-murti 64 Nrtha-murti 65 Nrtta-murti with Parvati 65 Urdhvatandava-murti with Kali 66 Nrtta-murti of Camunda/Kali 68 Gajantaka-murti 70 Gajasura/Andhakasura-samhara-murti 73 Tripurantaka/Tripuravijaya-murti 78 5 UMAMAHESVARA-MURTI 85 Kamesvara and Tripurasundari 87 Bhairava, Camunda and the Graveyard 89 Bhairava and Bhairavi 83 Guhyakali 96 PART II: ICONOGRAPHY AND IMAGES 1 SIVA AND PARVATI 101 Siva's Hermitage 101 Tapasvini Parvati 103 Parvati as an Anchorite 105 Pancagni-tapasya Parvati 106 Ekapada-tapasvini Parvati 111 Parvati as Consort or Co-regent 113 Parvati/Gauri/Uma/Lalita 114 Bhuvanesvari 118 Annapurna 121 2 MARRIAGE AND CONJUGAL LIFE 124 Marriage Procession 124 Kalyanasundara-murti (Marriage) 126 Panigrahana 127 Saptapadi 146 Dice Playing and Quarrels 150 Birth of Skanda (Karttikeya) 158 Recumbent Mother and Child (Sadyojata/Grhapati Siva) 158 Seated Devi Holding a Child 161 3 ANUGRAHA-MURTI 171 Ravananugraha-murti 171 Candesanugraha-murti 195 Visnvanugraha-murti (Cakradana-murti) 197 Kirata-murti (Kiratarjuniyam) 198 4 ANCILLARY MOTIFS OF SIVA WITH PARVATI 205 Bhiksatana-murti 205 Gangadhara-murti/Gangavisarjana-murti 211 Ardhanarisvara-murti 226 Standing 231 Seated 237 Dancing 238 Vinadhara-murti 239 Nrtta-murti 244 Nrtta-murti with Parvati 245 Urdhvatandava-murti with Kali 251 Nrtta-murti of Camunda/Kali and Bhairavi 256 Gajantaka-murti 262 Gajasura-Andhakasura-samhara-murti 270 Tripurantaka/Tripuravijaya-murti 275 5 UMASAHITA/ALINGANA-MURTI 289 Umasahita-murti 290 Standing Images 290 Seated Images 296 Seated/Standing 303 Somaskanda-murti 304 Alingana-Candrasekhara-murti 313 Tantric Forms 336 Srikantha Kamakala (Siva-Sakti) 337 Bhairava with Consort 339 Mahabhairavi/Siddhi-Laksmi 348 6 UMAMAHESVARA-MURTI 362 Format (A); Uma has back to Siva, Hand on his Leg, One Knee Raised 366 Variant (A). Left Arm of Siva on Right Shoulder of Uma 387 Variant (B). Right Arm of Uma on Left Shoulder of Siva 391 Variant (C); Uma Reciprocates Embrace 394 Variant (D); Siva Lifts Chin of Uma 400 Format (B); Uma has Left Knee Raised, Right Leg 410 Stretched or Folded Variant (A); Transitional to Format (E) 423 Format (C); Duplicate Pose with One Knee Folded 424 And One Leg Pendent Transitional Images 424 Duplicate Pose with One Knee Folded and One Leg Pendent 432 Format (D); Duplicate Pose with Both Legs Crossed or Folded 437 Format (E); Mirror Image Pose, Uma has Right Leg Folded, 444 Left Leg Pendent Format (F); Uma has Both Legs Pendent 469 Vrsabharudha/Vrsavahana-murti 480 Vrsavahana/Umasahita-murti (Siva and Uma Standing Next to the Bull Nandi) 480 Vrsavahana/Umamahesvara-murti (Siva and Uma Seated on the Bull Nandi) 482 Trotting/Galloping 483 Standing/Walking 486 Reclining 494 GLOSSARY 511 BIBLIOGRAPHY 522 INDEX 542 Vol. 2 COLOURED PLATES 1 BLACK & WHITE PLATES 121

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