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Line 7: − + + − + − ==== Shikhara (Peak) ==== − + − ==== Griva (Neck) ==== − + − ==== Talas (Storeys) ==== − + − ==== Bhitti (Wall) ==== − + − ==== Kumbha Pañjara (vase and nest) ==== − + − ==== Prastara (Cornice) ==== − + − ==== Makara Toraṇa (Arch) ==== − + − ==== Koṣṭhas (Niches) ==== − + − ==== Adhiṣṭhāna (Base) ==== + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Adding content on Iconography
=== Vimana ===
=== Vimana ===
==== Stupi (Finial) ====
==== Architecture ====
* Stupi (Finial)
Also called Kalaśa, the Stūpī has three main parts, the inverted lotus called Mahāpadma. This is topped by a globular part and further topped by a lotus bud like form. The top most element of the tower ends in a dot which is called “bindu”. It is considered the primordial bindu, which is the beginning of form. The supreme power of Divinity which is beyond space & form, like the vast expansive sky, descends to the earth through this bindu, according to Āgamas.
Also called Kalaśa, the Stūpī has three main parts, the inverted lotus called Mahāpadma. This is topped by a globular part and further topped by a lotus bud like form. The top most element of the tower ends in a dot which is called “bindu”. It is considered the primordial bindu, which is the beginning of form. The supreme power of Divinity which is beyond space & form, like the vast expansive sky, descends to the earth through this bindu, according to Āgamas.
* Shikhara (Peak)
It is the head of the tower resembling the peak of a mountain and so it is called śikhara. The shape of the śikhara varies, as square, octagonal, circular, house shoe, etc. Depending on the shape of the śikhara, the temple towers are classified as Nagara Vesara, gaja preshtam sala or Dravidam. The Tanjavur Vimāna is brought under Dravida class. The śikhara is the fifth element of the temple aṅga.
It is the head of the tower resembling the peak of a mountain and so it is called śikhara. The shape of the śikhara varies, as square, octagonal, circular, house shoe, etc. Depending on the shape of the śikhara, the temple towers are classified as Nagara Vesara, gaja preshtam sala or Dravidam. The Tanjavur Vimāna is brought under Dravida class. The śikhara is the fifth element of the temple aṅga.
* Griva (Neck)
To break the monotony of the long tapering tower, a small portion at the top beneath the śikhara, looks like the neck of a human being. It is called grīvā which forms the fourth part of the Aṅga of the temple.
To break the monotony of the long tapering tower, a small portion at the top beneath the śikhara, looks like the neck of a human being. It is called grīvā which forms the fourth part of the Aṅga of the temple.
* Talas (Storeys)
The tower rises in several tiers called Bhūmi or tala. A single storeyed vimāna, is called Ekatala Vimāna, a two storeyed tower called Dvitala Vimāna and a three storeyed called Tritala Vimāna and so on. As in the case of Tanjavur Vimāna, the tower may be sixteen storeyed, called Śoḍasatala Vimāna.
The tower rises in several tiers called Bhūmi or tala. A single storeyed vimāna, is called Ekatala Vimāna, a two storeyed tower called Dvitala Vimāna and a three storeyed called Tritala Vimāna and so on. As in the case of Tanjavur Vimāna, the tower may be sixteen storeyed, called Śoḍasatala Vimāna.
* Bhitti (Wall)
The Bhitti is the main wall that rises immediately above the pīṭha, from which koṣṭhas, pañjaras, pilasters project outside. The projections simulate miniature temples in square and rectangular shrines. These house a deity, appropriate to the directions and following Āgamic prescription. The main wall may be a single wall or may consist of two walls that is an outer and an inner wall separated by an intermediate space.
The Bhitti is the main wall that rises immediately above the pīṭha, from which koṣṭhas, pañjaras, pilasters project outside. The projections simulate miniature temples in square and rectangular shrines. These house a deity, appropriate to the directions and following Āgamic prescription. The main wall may be a single wall or may consist of two walls that is an outer and an inner wall separated by an intermediate space.
* Kumbha Pañjara (vase and nest)
Kumbha Pañjara is an architectural embellishment on the main wall, in between the koṣṭhas, in the sunken face of the wall. It represents a vase at the bottom, a pilaster, and an ornamental pañjara, with overflowing creepers on either side. As they are placed in between koṣṭhas, through which rain water is drained out, the kumbha-vase at its base is also called a water reservoir. On its base, trees, creepers, housing birds, animals, monkeys, sages, and other gaṇas are seen.
Kumbha Pañjara is an architectural embellishment on the main wall, in between the koṣṭhas, in the sunken face of the wall. It represents a vase at the bottom, a pilaster, and an ornamental pañjara, with overflowing creepers on either side. As they are placed in between koṣṭhas, through which rain water is drained out, the kumbha-vase at its base is also called a water reservoir. On its base, trees, creepers, housing birds, animals, monkeys, sages, and other gaṇas are seen.
* Prastara (Cornice)
Prastara is the ceiling covering the wall, with the edges projecting out of the wall, to drain the rain water away from the wall. The cornice has nest like embellishment, where the birds can perch. There is a cave like portrayal, simulating a chaitiya window. The prastara is the third aṅga of the architectural parts.
Prastara is the ceiling covering the wall, with the edges projecting out of the wall, to drain the rain water away from the wall. The cornice has nest like embellishment, where the birds can perch. There is a cave like portrayal, simulating a chaitiya window. The prastara is the third aṅga of the architectural parts.
* Makara Toraṇa (Arch)
The Makara toraṇa above the koṣṭha, simulates an entrance arch, in front of a miniature shrine. The arch issues from either side from the month of crocodiles and hence they are called Makara Toraṇa.
The Makara toraṇa above the koṣṭha, simulates an entrance arch, in front of a miniature shrine. The arch issues from either side from the month of crocodiles and hence they are called Makara Toraṇa.
* Koṣṭhas (Niches)
It is a niche projecting from the main wall, simulating a miniature sanctum, in which either the manifestation of the main deity or a secondary deity is enshrined. The koṣṭha, with its base, and the makara toraṇa above looks like a miniature temple.
It is a niche projecting from the main wall, simulating a miniature sanctum, in which either the manifestation of the main deity or a secondary deity is enshrined. The koṣṭha, with its base, and the makara toraṇa above looks like a miniature temple.
* Adhiṣṭhāna (Base)
Adhiṣṭhāna or Pīṭha is the solid base on which the entire structure stands. The entire height of the Adhiṣṭhāna carry a number of mouldings, depending upon which they can be classified as Pādabandha, Pratibandha and so on. The mouldings are called paṭa, jagatī, kumuda, paṭṭikā or prati. The measurements of the mouldings are usually in proportion to the overall measurements of the building. In some bases are carved, the figure of leogriffs, either with or without a rider. These represent some concepts like Dharma, Adharma, Jñāna and Vairāgya.
Adhiṣṭhāna or Pīṭha is the solid base on which the entire structure stands. The entire height of the Adhiṣṭhāna carry a number of mouldings, depending upon which they can be classified as Pādabandha, Pratibandha and so on. The mouldings are called paṭa, jagatī, kumuda, paṭṭikā or prati. The measurements of the mouldings are usually in proportion to the overall measurements of the building. In some bases are carved, the figure of leogriffs, either with or without a rider. These represent some concepts like Dharma, Adharma, Jñāna and Vairāgya.
Larger temples introduce a sub-base or socle called upa-pīṭha, to raise the height of the temple or for improved protection and aesthetics. The upa-pīṭhas are generally plain with pilasters at the ends.
Larger temples introduce a sub-base or socle called upa-pīṭha, to raise the height of the temple or for improved protection and aesthetics. The upa-pīṭhas are generally plain with pilasters at the ends.
==== Iconography ====
* Linga
<blockquote>लिङ्गं द्वयमितिप्रोक्तं चलं चैव अचलं तथा । चल लिङ्गे सदावासं पूजयेत् परमेश्वरम् ।।</blockquote><blockquote>स्थिरलिङ्गे देवन्तु मन्त्रसंस्कार पूर्वकम् । मन्त्रहीने तु लिङ्गस्य केवलाकृति मात्रकम् ।।</blockquote><blockquote>चललिङ्ग विशेषन्तु गुरूदेवो महेश्वर । (मकुटागम पृ.37)</blockquote><blockquote>पीठं प्रासादरूपं च यथेष्टं कारयेद् बुधः । पूर्वोक्ते पौरुषे लिङ्गे पीठव्यासादि पूर्ववत् ।।</blockquote><blockquote>तन्मानेन विमानानां विस्तारं सम्यगुच्यते । पीठस्य द्विगुणं गेहं चतुः पञ्चगुणं तु वा ।।</blockquote><blockquote>लिङ्गं महत्त्वधिष्ठाने चार्धे स्थिते च मध्यमम् । समाप्ते च विमाने स्यात् कन्यसं स्थापयेद् बुधैः ।। (मयमतम्, अध्याय 34, श्लोक, 57-58)</blockquote>The Bṛhadīśvara LIṄGA called Rājēśvaram - uḍaiya-Paramaswāmi consecrated by Rājarāja Cōḻa inside the sanctum of the great temple, Tanjavur. The ''pīṭha'' of the Bṛhadīśvara Liṅga.
* Ardhanarishvara
<blockquote>उमार्धं वामभागं तु हरार्धं दक्षिणं वपुः । सजटामकुटं दक्ष शश्यर्धाङ्कितमूर्धजाः ।।</blockquote><blockquote>करण्डमकुटं वाममळकेन समन्वितम् । ललाटदक्षिणे भागे नयनार्धेन संयुतम् ।।</blockquote><blockquote>पत्रं तु वामकर्णे स्याद्वाळिकेनापि संयुतम् । सनक्रकुण्डलं सव्ये ते विनावाथ कारयेत् ।।</blockquote><blockquote>सव्ये टङकाभयौ हस्ते उत्पलं वामगे करे । देव्यध्यायोदितास्त्रं वा दर्पणासक्तलोचनम् ।।</blockquote><blockquote>दर्पणं मुखवृत्तं स्यात्तन्मुष्टिस्स्यात्तदर्धतः । तत्पुच्छं मुकुलाकारं पादे शोभाविराजितम् ।</blockquote><blockquote>उमाभागं स्तनोपेतं चित्रवस्त्रपरिच्छदम् । व्याघ्राजिनाम्बरं सव्यपादं कुञ्चितमिष्यते ।।</blockquote><blockquote>सुस्थितं वामचरणं नूपुरेणाप्यलंकृतम् । आभङ्गसहितं तच्च कोलकाङगुलकैर्नतिः ।।</blockquote><blockquote>वामं मरकताभं स्याद्दक्षिणं मणिसन्निभम् । नाभिहृन्मेढ्रदेशेभ्यो वामे दक्षे च वामके ।।</blockquote><blockquote>चन्द्रशेखरवच्छेषं कर्तव्यं हि मुनीश्वराः । (कामिकागम)</blockquote>Śiva as ARDHANĀRIŚVARA with the right side representing Śiva and the left Umā, stands by the side of a bull, with three arms - two arms on the right side representing Śiva and one arm on the left, representing ''Umā bhāga''. The rear right arm is holding a ''triśūla'' on a long shaft and the front right arm is rested on the head of the bull. The left arm holds a lily flower. The Lord is shown in ''tribhaṅga'', with the right leg slightly bent and the left firmly planted on the pedestal. On the left, the lower garment extends up to the knee. The left side, showing the ''Umā bhāga'', has the breast treated realistically. The bracelet (''keyūra'') on the right is like a snake, while on the left it is broad, with pearl rings on the upper side and other floral designs in the middle. In addition, the left has a prominent ''kaṭaka'' and a number of bangles on the forearm. The right half of the face is slightly longer and the left smaller and graceful, emphasizing the male and female forms. There is a ''simha kuṇḍala'' (check up) on the right ear and a ''patra kuṇḍala'' on the left. Similarly, the headdress is also appropriately divided to show the Ardhanārī form, with the right the ''jaṭābandha'' and the left, kēśabandha.
* Gangadhara
<blockquote>चतुर्भुजंत्रिणेत्रंश्च जटामकुटमम्डितः । दक्षिणाभयहस्तस्थोऽप्यन्यत्र कटकामुखः ।।</blockquote><blockquote>तेन हस्तेन धृत्वैकां जटां गङ्गासमन्विताम् । संस्थितस्तु प्रसन्नात्मा कृष्णापरशुसमयुतः ।।</blockquote><blockquote>जटायुक्तकरोच्चं तु कर्णस्योर्ध्वसमं भवेत् । तदन्तरं तु द्विमुखामाभङ्गेन समन्वितम् ।।</blockquote><blockquote>कुर्याद् भगीरथं देवनाभ्यन्तस्तनसीमगम् । गलान्तं वाष्टतालेन विलम्बितजटान्वितम् ।।</blockquote><blockquote>वल्कलाम्बरसंयुक्तं हृन्मस्तककृताञ्जलिम् । द्विनेत्रं च द्विबाहुं तमेवं गङ्गाधरो भवेत् ।। (कामिकागम)</blockquote>GAṄGĀDHARA is shown standing on a lotus pedestal with four arms. His front right arm is lifted up and is receiving the falling Gaṅgā on this jaṭā. His left arm is placed on the thigh. The rear arms hold mṛga and axe. Śiva's lower garment extend up to the ankle.
* Ayudha Purusha Khadga
<blockquote>वज्र शक्तिं च दण्डं च खङ्गं पाशं तथाङ्कुशम । गदा त्रिशूलं चक्रं च पद्मं चेति दशायुधम् ।।</blockquote><blockquote>द्विभुजाश्च द्विनेत्राश्च सर्वाभरणसंयुताः । कृताञ्जलिपुटोपेताः करण्डमकुटान्विताः ।।</blockquote><blockquote>तत्तद्वक्त्रप्रमाणेन अस्त्रमूर्तिसमन्वतिताः । नानावर्णसमायुक्तं नीलजीमूतवर्णकम् ।।</blockquote><blockquote>नीलकं पद्मरागं च तुषारं चेन्द्रनीलकम् । शरदाभ्रं च रक्तं च वज्रादीनां तु वर्णकम् ।।</blockquote><blockquote>जाया जया शक्तिगदा पाशपद्मे नपुंसके । शेषाः पुमानिति ख्याताः कीर्तितास्त्वस्त्रमूर्तयः ।। (पूर्वकारणागमे चतुर्दशपटले ।।)</blockquote>ĀYUDHA-PURUṢA-KHAḌGA flanking the central openning on the north of the main sanctum tower.
* Devi Manonmani
<blockquote>तस्यैव वामपार्श्वे तु आदिशक्तिः मनोन्मनी । वह्नेः उष्णत्ववत् शक्तिः अविनाभाविनी विभोः ।।</blockquote><blockquote>एक वक्त्रां चतुर्हस्तां सर्वाभरण भूषिताम् । नितम्बतट विस्तीर्णां मध्ये सूक्ष्मां स्तनोत्तमाम् ।।</blockquote><blockquote>वामादि शक्तिकोपेतां आख्यया तु मनोन्मनीम् । (मकुटागम पृ.66)</blockquote>A seated image of DĒVĪ MANŌNMAṆĪ is seen in the inner-ambulatory facing the north central opening. The Dēvī, seated in ''vīrāsana'', is two-armed holding ''akṣamālā'' in the right and ruling the left. She wears upavīta, beautiful necklaces and breast band. She has a prabhāvalī, which is a makara tōraṇa. The image of the goddess was painted in the time of Vijaya Rāghava Nāyaka around AD 1650. The representation in stone to the left of the main sanctum is unique, again noticed only in Tanjavur. Manōnmaṇī is an important goddess who is always worshipped placed to the left of Śiva, in this case north. The goddess is flanked by female attendants.
* Ayudha Purusha Dhvaja
<blockquote>वज्र शक्तिं च दण्डं च खङ्गं पाशं तथाङ्कुशम । गदा त्रिशूलं चक्रं च पद्मं चेति दशायुधम् ।।</blockquote><blockquote>द्विभुजाश्च द्विनेत्राश्च सर्वाभरणसंयुताः । कृताञ्जलिपुटोपेताः करण्डमकुटान्विताः ।।</blockquote><blockquote>तत्तद्वक्त्रप्रमाणेन अस्त्रमूर्तिसमन्वतिताः । नानावर्णसमायुक्तं नीलजीमूतवर्णकम् ।।</blockquote><blockquote>नीलकं पद्मरागं च तुषारं चेन्द्रनीलकम् । शरदाभ्रं च रक्तं च वज्रादीनां तु वर्णकम् ।।</blockquote><blockquote>जाया जया शक्तिगदा पाशपद्मे नपुंसके । शेषाः पुमानिति ख्याताः कीर्तितास्त्वस्त्रमूर्तयः ।। (पूर्वकारणागमे चतुर्दशपटले ।।)</blockquote>ĀYUDHA-PURUṢA-DHVAJA flanking the central openning on the north of the main sanctum tower.
* Vamadeva
<blockquote>वामं रक्तं च सुरभिमाल्य वस्त्रोपवीतिनम् । तुङ्ग नासारूणोष्णीषं खड्गखेटक पाणिनम् ।। (शिवलिंग प्रतिष्ठाविधि, पृ. 118)</blockquote><blockquote>तं देवश्च सुरक्ताभं (रक्तं च सुरभि) मालय वस्त्रोपवीतिनम् । तुङ्ग नासारूणोष्णीषं खङ्ग खेटक पाणिनम् ।। (अघोरशंभु-क्रिया, पृ.102)</blockquote>The image of VĀMADĒVA in the Bṛhadīśvara temple is in the northern wall, west to Āliṅgana Candraśēkhara. The deity is four-armed with ''paraśu'' and ''mṛga'' in the rear arm, and sword and shield in the front arm. According to the Āgamic text, Vāmadēva is red in colour and wears a ''vastra'' as ''upavīta''. The nose is prominent. He wields a sword and shield. According to the Makuṭāgama, Vāmadēva is four-faced with four arms and bedecked with jewels like bracelets and armlets; he wears a crown made of corals. His arms hold an axe and noose and are in ''varada'' and ''abhaya'' poses. Three-eyed, he wears ''kuṇḍala'' in his ears. It is the hymnal image (''mantra mūrti'') of Vāmadēva as mentioned earlier.
* Alingana Chandrashekhara
<blockquote>देवो पहतहस्तेन देवीं तत्पार्श्वमाश्रिताम् । स्तनाभ्यन्तरे वामपार्श्वमालिङ्गनं कुरु ।।</blockquote><blockquote>पार्श्वसूत्रात्पुरो वामबाहुमालिङ्गनं तु वा । देवी दक्षिणहस्तेन शम्भोर्दक्षिणपार्श्वतः ।।</blockquote><blockquote>कटिसूत्रोपरि तथा वामे पुष्पधृता करे । अथवा प्राग्वददेवेशो देवी रक्तोत्पलान्विता ।।</blockquote><blockquote>करे तु दक्षिणे वामहस्तमात्रं प्रलम्बयेत् । एवमालिङ्गमूर्ति तु त्रिधा मार्गेण कल्पयेत् ।। (शिल्परत्ने द्वाविंशपटले)</blockquote>Śiva as ĀLIṄGANA CANDRAŚĒKHARA is shown standing on a pedestal embracing Pārvatī standing to his left. Śiva is four-armed, holding the axe and the antelope in the rear arm and a flower in his right arm. The left arm is embracing Pārvatī. He is shown as a youth. To his left stands Pārvatī, turned slightly towards Śiva with a smiling face. She has two arms, the right is bent while the left is on her thigh. She wears ''karaṇḍa makuṭa'' and a lower garment extending up to her ankles. She wears a ''channa vira'' across her body. Two sages in ''añjali'' pose are shown seated above adoring the divine pair. They are represented on the side walls.
* Ishana Shiva
<blockquote>स्फटिकाभं जगद्धेतुं त्रिनेत्रं चन्द्रमौलिनम् । सौम्यं प्रसन्नं ईशानं त्रिशूल अभय पाणिनम् ।। (अघोरशंभु-क्रिया, पृ.100)</blockquote>IŚĀNA should be crystal-like in colour, wearing the crescent moon, three eyes and should hold ''triśūla'' in the right and ''abhaya'' in the left hand and have a pleasing countenance. lśāna, in the Bṛhadīśvara temple stands with two arms, the right holding ''triśūla'' and the left in ''kaṭi mudrā''. It is located exactly in the lśāna niche, (north eastern niche), facing east. There is hardly any doubt about its identification.
* Chandra
<blockquote>श्वेतश्श्वेताम्बरधरश्श्वेताश्वश्श्वेतभूषणः । गदापाणिर्द्विबाहुश्च कर्तव्यो वरदश्शशी ।। (विष्णुधर्मोत्तरे ।।)</blockquote>CANDRA, the Moon God, is shown standing, holding lilies in both the arms. The big halo behind him indicates his lunar character. He occupies the position parallel to Sūrya shown on the south side niche corresponding to the present Candra. Also known as Soma, he is assigned to the northern direction. At this point it would be interesting to note the concept of the placement of Sūrya and Candra on either side of the entrance to the garbhagṛha. Śiva looks to the Universe through his three eyes, namely, Sūrya, Candra and Agni. He is called Soma-Sūrya-agni locana. The temple faces east and so does the Liṅga. The right eye of Śiva is Sūrya, the left is Candra and the central one on the forehead is the fire, Agni. The Liṅga in the sanctum is Rudra identical with Agni. The Liṅga in the garbhagṛha itself represents the eye on the forehead of Śiva and it represents the ''saṁhāra'' aspect of Śiva. Sūrya and Candra on the eastern face of the ''garbhagṛha'' flanking the entrance should be viewed in this conceptual basis.
* Tripurantaka
<blockquote>चतुर्भुजः त्रिनेत्रं च जटामकुटसंयुतः । समभङ्ग युतः सम्यक् स्थानकेन समन्वितः ।। </blockquote><blockquote>सव्यकर्णस्थ मकरकुण्डलेन समन्वितः । कृष्णापरशु संयुक्त परहस्त द्वयान्वितः ।। </blockquote><blockquote>धनुर्बाणयुतोपेत वामेतरकरान्वितः । दोस्सीम परहस्तोच्चं शरहस्तं मेढ्रसीमकम् ।। </blockquote><blockquote>परहस्तोज्झितो वाथ द्विहस्तः त्रिपुरान्तकः । कुर्यात् सलक्षणां वाथ वामभागे तु पार्वतीम् ।। </blockquote><blockquote>एवं कृत्वा पुरारिं तु प्रतिष्ठां कारयेत् ततः । (कामिकागम भाग 2, अध्याय 49)</blockquote>Śiva as TRIPURĀNTAKA stands on a high lotus pedestal. He has four arms, holding with his front arms a long bow and arrow and with the other two, a paraśu and mṛga. The rear emblems are hidden by the wall. Tripurāntaka wears a high ''jaṭāmakuṭa'' and stands elegantly in tribhaṅga pose. Jewels, garments, etc. are similar to figures on other niches. Three figures seated in ''añjali'' pose are seen on the side wall, to the right of Tripurāntaka and obviously they are the three Asuras who were subdued by Śiva. The left wall also carries some figures but they are hidden by the side wall, which was erected subsequently as a part of the vestibule.
* Mahakala
<blockquote>वज्र शक्तिं च दण्डं च खङ्गं पाशं तथाङ्कुशम । गदा त्रिशूलं चक्रं च पद्मं चेति दशायुधम् ।। </blockquote><blockquote>द्विभुजाश्च द्विनेत्राश्च सर्वाभरणसंयुताः । कृताञ्जलिपुटोपेताः करण्डमकुटान्विताः ।। </blockquote><blockquote>तत्तद्वक्त्रप्रमाणेन अस्त्रमूर्तिसमन्वतिताः । नानावर्णसमायुक्तं नीलजीमूतवर्णकम् ।। </blockquote><blockquote>नीलकं पद्मरागं च तुषारं चेन्द्रनीलकम् । शरदाभ्रं च रक्तं च वज्रादीनां तु वर्णकम् ।। </blockquote><blockquote>जाया जया शक्तिगदा पाशपद्मे नपुंसके । शेषाः पुमानिति ख्याताः कीर्तितास्त्वस्त्रमूर्तयः ।। (पूर्वकारणागमे चतुर्दशपटले ।।)</blockquote>MAHĀKĀLA as Dvārapāla is found guarding the entrance to its left. He is shown with four arms. His rear left arm is in the pose of ''Vismaya'' and the right in the pose of slapping. The front right strikes a threatening pose of ''tarjani mudrā'' and the front left rests on a ''gadā''. His left leg is placed on a gadā while the right is firmly planted on the ground. Like Nandikēśvara he also wears a long garland of chains reaching up to the ankle.
* Nandikeshvara
<blockquote>नन्दी कार्यस्त्रिनेत्रस्तु चतुर्बाहुर्महाभुजः । सिन्दूरारुणसङ्काशो व्याघ्रचर्मपरिच्छदः ।। </blockquote><blockquote>त्रिशूलभिन्दिपालौ च करयोस्तस्य कारयेत् । शिरोगतं तृतीयं तु तर्जयन्तं तथापरम् ।। </blockquote><blockquote>आलोकयानं कर्तव्यं दूरादागामिनं जनम् । (विष्णुधर्मोत्तरे ।।)</blockquote>There are two huge Dvārapālas - ''Nandikēśvara'' and Mahākāla - flanking the main entrance to the garbhagṛha. The one on the southern side - the right of entrance – represents Nandikēśvara, also called simply Nandi. He is in human form wearing a ''jaṭāmakuṭa'' on top of which is seen a ''śūla''. He is four-armed. The front right arm is in ''tarjani mudrā'' with forefinger raised and others closed. The front left is resting on a ''gadā'', which has a coiling serpent. The rear right arm is in ''vismaya'' pose and the left wide open in what is called a ready to slap pose. Nandikēśvara wears broad necklaces, an udarabandha (band) around the belly and also around the waist. There is a long garland of bells extending up to the knee of the right leg. The right leg is placed on the ''gadā'' while the left is firmly planted on the ground. It is a very impressive figure; so is the corresponding image of Mahākāla at the left of entrance.
* Tatpurusha Shiva
<blockquote>पीताम्बरोपनीतं च नरं कनकसप्रभम् । मातुलङ्ग अक्षसूत्रे च दधानं चन्द्रशेखरम् ।। (शिवलिंग प्रतिष्ठाविधि, पृ. 119)</blockquote>A four-armed standing image of TATPURUṢA ŚIVA is enshrined in the eastern face to the south of Nandikēśvara in the Bṛhadīśvara temple. He holds a ''paraśu, mṛga'' and a round object in his hands. This figure is obviously ''Tatpuruṣa'' whose description is given in Āgamic texts as golden in colour, wearing a silk garment and ''upavīta'', holding an ''akṣamālā''in the right and the ''mātulaṅga'' fruit in the left hand. The object, therefore, is the mātulaṅga fruit. Except that it has four hands, the description tallies with the Āgamic one.
* Surya
<blockquote>द्विभुजाः पद्महस्ताश्च रक्तपद्मासने स्थिताः । रक्तमण्डलसंयुक्ताः करण्डमकुटान्विताः ।। </blockquote><blockquote>रक्ताम्बरधरास्सर्वे सर्वाभरणभूषिताः । छन्नवीरसमायुक्ता भास्करा द्वादशा इमे ।। </blockquote><blockquote>वैवस्वतो विवस्वांश्च मार्ताण्डो भास्करो रविः । लोकप्रकाशकश्चैव लोकसाक्षी त्रिविक्रमः ।। </blockquote><blockquote>आदित्यश्च तथा सूर्य्यः अंशुमांश्च दिवाकरः । एते वै द्वादशादित्याश्चोत्तरादिक्रमात्स्थिताः ।। (अंशुमद्भेदागमे एकोनपश्चाशपटले ।।)</blockquote>SŪRYA stands facing east on a lotus pedestal, holding lotuses in both the arms. The right forearm with the lotus is broken. The left forearm is also broken, but the lotus is seen clearly indicating that the image is Sūrya. He wears a short lower garment, tied to the waist by waist bands with a central loop. The side tassels are prominent. An ''upavīta'' of pearls with a broad loop knot is seen at chest height. A broad necklace adorns the neck. The ''kirīṭa'' is conical. A big circular disc is shown at the back. No associate figures are found on the side wall.
* Vishnu Anugraha Murti
<blockquote>नन्दीशानुग्रहस्त्वेवं तद्वद्विष्णुप्रसादकृत् । हित्वा नन्दीश्वरं तस्मिन्विष्णुं तल्लक्षणान्वितम् ।। </blockquote><blockquote>सचक्राञ्जलिहस्तं च शङ्खाब्जापरहस्तकम् । कारयेद्देव एष स्याच्चक्रदो विष्णुमूर्तिनः ।। </blockquote><blockquote>कारयेदेवमेवान्यप्रसादाभिमुखं शिवम् । (उत्तरकामिकागमे पञ्चपञ्चाशत्तमपटले ।।)</blockquote>Śiva, as VIṢṆU ANUGRAHA-MŪRTI, emanates from the Liṅga and stands revealed from head to foot, sporting four arms. The front right arm is in abhaya ''mudrā'' and the left is placed on the hip. The rear right arm holds a ''paraśu'' and the left, ''mṛga''. The Liṅga from which Śiva emanates, is shown as a cylindrical shaft with floral decoration as ''tōraṇa'' at the level of the head of Śiva. Śiva appears as if emanating from an oval-shaped cavity of the Liṅga. To his right is shown Viṣṇu, seated in kneeling posture, with his front arms folded in worshipping posture and the rear arms holding cakra and śaṅkha. Viṣṇu wears a ''kirīṭa'' on his head.
=== Mandapa ===
=== Chandikeshvara Shrine ===
=== Enclosure ===
=== Inner Gopuram ===
=== Outer Gopuram ===
=== Amman Shrine ===
=== Subrahmanya Shrine ===
=== Nandi Mandapa ===
=== Ganesha Shrine ===
=== Nataraja Shrine ===
=== Dvajasthambha ===
=== Torana Arch ===
=== Karuvur Devar Shrine ===