- Museum number
Opaque watercolour painting of the great temple at Madurai. Defined by the east, the north and the west gopuras (gateways), the complex has long pillared corridors and spacious halls with a number of smaller shrines. To the left is the temple of Minakṣi, in its own enclosure with the Pottramarai tank and a large entrance mandapa (columned hall) dedicated to the Ashtashaktis. The goddess stands in samabhanga with a parrot perched on the chenkol (the flower sceptre), in her right hand. The left hangs loose at her side. Subsidiary shrines skirt the perimeter of the temple’s enclosure. To the right is the temple of Sundareshvara with two elephant figures emerging out of its walls. At its core is the garlanded linga, Chokkanatha, decorated with a tripundra (three horizontal lines). Opposite the sanctuary of Sundareshvara are the flagstaff and the crouching Nandi. Various shrines dedicated to Gaṇeśa and other deities are placed along the pillared corridors.
- 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
BM, Gallery 33, Nov 2017 - Dec 2018
- 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)