- Museum number
Opaque watercolour painting of the Dandayudhapani temple at Palani, in the Dindigul district of Tamil Nadu, one of the six holy sites connected with the life of Murugan. The temple, on the top of a hillock, is reached by climbing 659 steps. As if to stress the long ascent up the Shivagiri hill, a female figure sits on the steps. Enshrined in the sanctuary is Dandayudhapani, ‘Bearer of the staff’, who stands in samabhanga . On his forehead are vibhuti (cow dung ash) and tripundras (three horizontal lines) decorate his arms, chest and stomach. He wears a simple fillet of rudraksha beads around his forehead as well as a loincloth and shawl, and he carries the shakti (spear) and danda (staff). At the foot of the hill is a small shrine dedicated to Munnadikaruppu, an attendant deity, and in the foreground is the Saravana Poigai tank, the most important bathing place near the temple.
- Production date
- 1830 (circa)
Height: 22.60 centimetres
Width: 17.60 centimetres
- Curator's comments
- Dallapiccola 2010:
This painting is part of an album of ninety-one paintings (1962,1231,0.13.1–91) illustrating gods, goddesses, saints and scenes from Hindu mythology. One of the most interesting features of the album are the eight major temple sites included: Srirangam, Tiruvallur, Rameswaram, Tirunelveli, Palani, Madurai, Thiruvanaikoil (Tiruvanaikka or Jambukeshvara) and Tiruchchirappalli. Furthermore, included in this series are some of the most important murtis enshrined in temples such as Venkatachalapati of Tirumala, Vitthala of Pandharpur and Thyagarajasvami of Tiruvarur. The geographical area covered by the paintings encompasses the totality of the former Madras Presidency and extends into the former Bombay Presidency, giving an insight into the most revered pilgrimage sites in early nineteenth-century southern India.
The drawings were first done in pencil, traces of which are still visible. In the course of his work the artist has sometimes changed his mind, as for instance in the positioning of the arms and feet of the figures. Slight shading has been consistently applied to the faces, arms and legs of the figures to suggest three-dimensionality. The vibrant colours and the delicacy of the drawings make the figures stand out from the pages.
The pages are numbered in reverse order from the back, on paper water marked ‘1820’. Occasionally, a brief note is pencilled in English, probably by a British Museum curator, at the back of some of the temple depictions. An almost identical work, albeit containing a hundred drawings, each with bilingual inscriptions in Telugu and English, is in the collection of the Victoria and Albert Museum, London (IM 355-1923 to 454-1923). The sequence of the images is similar to that in this album.
- On display (G33/dc66b/s3)
- Exhibition history
- Acquisition date
- Acquisition notes
- Transferred from the Department of Oriental Manuscripts and Printed Books (OMPB) in 1962.
- Registration number
- Additional IDs
Miscellaneous number: 1167 (Egerton number)
Miscellaneous number: 1176 (Egerton number)