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Shiva and Parvati are often represented sitting face to face (the sammukha mudra). They can also be seen in various postures connoting love and desire such as embracing each other in the alingana pose. Shiva in some representations touches and caresses Parvati's breasts (the kuca-sparsa pose) or holds her in his lap (atikarohana form).
Tamil temple lore narrates that once the gods and sages had gathered at Shiva's abode, they prayed their respects to Shiva and Parvati. However, the sage Bhringi had vowed to worship only one deity, Shiva, and ignored Parvati while worshipping and circumambulating him. Agitated, Parvati cursed Bhringi to lose all his flesh and blood, reducing ...
Now it has become an important Hindu worshipping centre of the region, with devotees coming from far and near. In addition to the main Shiva-Parvati idol, the Temple's inner courtyard features sub-temples for Lord Ganesha and Lord Sastha. Other sub-temples for Naga Raja, Naga Yakshi, Naga Kanyaka and Rakshas are also located within the main ...
Somaskanda, Salar Jung Museum. In the Somaskanda representation, Shiva is seated in the sukhasana pose, with his left leg folded and depicted with four hands. His upper two hands perform the kartarimukha-hasta, holding a Mazhu (மழு) (Axe) in the right, and a deer in the left.
Shiva then merged with Parvati to form Ardhanarishvara, the half-female, half-male form of Shiva and Parvati. [9] The Arunachala, or red mountain, lies behind the Arunachalesvara temple, and is associated with the temple of its namesake. [3] The hill itself is sacred and considered a lingam, or iconic representation of Shiva. [10]
Vrisharudha is depicted as the form of the deity who is accompanied by Parvati and seated on his bull mount, Nandi. Chandrashekara Chandrashekara is depicted as the form of the deity who wears the crescent moon on his matted hair. Umamaheshvara: Umamaheshvara is depicted as the divine couple of Shiva and Parvati following their wedding. Nataraja
Attributed to Khushala The Gods Sing and Dance for Shiva and Parvati (late 18th century) From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva. [88]