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Gouache painting on paper (watermarked 1814) from a set of twelve paintings of deities. The deity Varuna sitting astride a makara (mythical creature) and holding a naga (a snake deity) in one hand and a pasha (a noose) in the other.

Gouache painting on paper (watermarked from a set of twelve paintings of deities. The deity Varuna sitting astride a makara (mythical creature) and holding a naga (a snake deity) in one hand and a pasha (a noose) in the other.

Opaque watercolour painting of Varuna, guardian of the west, riding an elegantly caparisoned makara (mythical creature), with detailed scaly skin. The god holds the reins of the makara in his left hand and carries the pasha (noose), in his right hand.

Opaque watercolour painting of Varuna, guardian of the west, riding an elegantly caparisoned makara (mythical creature), with detailed scaly skin. The god holds the reins of the makara in his left hand and carries the pasha (noose), in his right hand.

Trichinopoly, India (probably, made)  Date: ca. 1825. Sarasvati (shakti of Brahma), the goddess of learning, speech and music, seated holding a rudra vina and palm-leaf manuscript, from a series of 100 drawings of Hindu deities created in South India.

Sarasvati, the goddess of learning, speech and music (Painting)

Trichinopoly, India (probably, made) Date: ca. 1825. Sarasvati (shakti of Brahma), the goddess of learning, speech and music, seated holding a rudra vina and palm-leaf manuscript, from a series of 100 drawings of Hindu deities created in South India.

Nammalvar has a blue complexion,with his hair gathered in a chayyakkontai on the left side of his head, topped by a coronet with a central aigrette. The alvar’s right hand is in vitarka mudra while the left is in what appears to be mushti mudra. Behind the throne is a tamarind tree, an allusion to the pivotal role played by this tree in Nammalvar’s life.       Company School,      Trichinopoly Style, c.1830.         Painted in: Tiruchirapalli. An album of 70 paintings of Indian gods.

Nammalvar has a blue complexion,with his hair gathered in a chayyakkontai on the left side of his head, topped by a coronet with a central aigrette. The alvar’s right hand is in vitarka mudra while the left is in what appears to be mushti mudra. Behind the throne is a tamarind tree, an allusion to the pivotal role played by this tree in Nammalvar’s life. Company School, Trichinopoly Style, c.1830. Painted in: Tiruchirapalli. An album of 70 paintings of Indian gods.

Painting. Siva with Parvati and Nandi on mount Kailasa with caption. Gouache on card. Inscribed.

Śiva with Pārvatī and Nandi on mount Kailasa with caption. Gouache on card.

Trichinopoly, India (probably, made)  Date: ca. 1825.  Rama, the seventh avatara of Vishnu, holding a bow and a crescent tipped arrow. From a series of 100 drawings of Hindu deities created in South India.

Rama holding a bow and a crescent tipped arrow (Painting)

Trichinopoly, India (probably, made) Date: ca. Rama, the seventh avatara of Vishnu, holding a bow and a crescent tipped arrow. From a series of 100 drawings of Hindu deities created in South India.

Trichinopoly, India (made)  Date: ca. 1860.  This painting depicts Parasurama.

One of five paintings of Hindu deities. (Painting)

Trichinopoly, India (made) Date: ca. This painting depicts Parasurama.

Trichinopoly, India (probably, made)  Date: ca. 1825. Varaha, the boar-headed third avatar(incarnation) of Vishnu, who came to kill the captive Asura Hiranyaksha, who was holding the earth goddess Bhumi captive. From a series of 100 drawings of Hindu deities created in South India.

Varaha (Painting)

gouache on watermarked paper, Varaha, the boar-headed third avatar of Vishnu, Trichinopoly, Museum Number

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