- Museum number
Opaque watercolour painting of the marriage of Śiva and Pārvatī, taking place beneath a sacred tree in the presence of the four-headed Brahma, who, seated in the foreground, performs a homa, a fire sacrifice. Viṣṇu and Pārvatī’s father Himavan stands nearby. Viṣṇu stands behind Parvati and carries the chakra (discus) and shankha (conch) in his upper hands, with the lower pair in abhaya and varada mudra. Brahma carries in his upper right hand a mala (string of beads) and in his upper left the kamandalu (water vessel), while his lower hands carry the sacrificial ladle and other implements. The green-complexioned Pārvatī extends her right hand towards Śiva, who clasps it while Himavan pours water over their joined hands, thus sanctifying their union. Śiva’s upper right hand holds the damaru (hourglass shaped drum), and the mriga (gazelle) is in his upper left. His lower left hand is empty.
- Production date
- 1830 (circa)
Height: 22.60 centimetres
Width: 17.60 centimetres
- Curator's comments
- Dallapiccola 2010:
South Indian tradition maintains that Viṣṇu is the brother of Pārvatī and gives her away.
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
- Associated events
- Associated Event: Marriage of Siva and Parvati
- 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)