Mahabharata
Historical background
One of the two great Sanskrit epics of India, possibly the world’s longest poem. The core story narrates the rivalry between two related families. In the course of time, mythology, ethics, theology, folk tales and philosophic passages were added to it.
Date: First half of the 16th century
Description: Arjuna reaches a small Shiva temple perched on Indrakila hill and devoutly bows before the linga and resumes his journey. Accompanied by a gana, Bhairava appears before Arjuna who pays homage to him. The next section is almost completely lost. It probably depicted the progress of Arjuna in the Himalayas and the beginning of his penance. The two female figures on the left may well be the apsaras sent by Indra to seduce Arjuna and to test his steadfastness.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, west bay
Description: On the extreme left: Indra seated on a throne, behind which stand some attendants, now vanished. Opposite him is the rishi Narada.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, north end of the west bay
Date: First half of the 16th century
Description: Indra, flanked by three attendants, listens attentively to the report of Narada, standing on the left.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, north bay, west end
Date: First half of the 16th century
Description: A sequence of scenes has disappeared. The narrative resumes when Indra in his divine form appears before Arjuna and encourages him to propitiate Shiva in order to obtain the magic weapon, the pashupata astra, that will ensure his victory over the Kauravas. Arjuna prostrates himself before Indra, and then walks into the forest to resume his penance.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, north bay, east end
Date: First half of the 16th century
Description: Concerned by the intensity of Arjuna’s penance, the rishis report to Shiva. On the right are the ascetics, one of whom looks back at Arjuna performing penance; On the left is Parvati; Behind her are a sage, followed by a dancing figure carrying a vina, locally identified as Bhringi.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall east bay, north end
Date: First half of the 16th century
Description: From right: Parvati, a rishi; Bhringi; Adhikaranandi and Brahma. The next scene depicts Siva and Parvati riding on Nandi, being worshipped by a sage. The divine couple and a host of ganas, are on their way to the forest where Arjuna is performing his penance (extreme left). Flames emanate from him and snakes slither along his body.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, east bay
Date: First half of the 16th century
Description: From right: Arjuna sits in deep meditation, flames emanate from his body and his hair stands on end.
Shiva and Parvati accompanied by their retinue, all in the guise of kiratas (hunters), walk through the forest. Before them appears a boar, Muka, destined to be killed by Arjuna. Shiva and Parvati sit on a nearby hillock looking on, while the wild boar, baring his sharp tusks runs, through the forest, almost landing on a group of sages who flee in panic.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, east bay south end
Date: First half of the 16th century
Description: Arjuna performing tapas in the forest. In the next discoloured scenes it is just possible to make out how he shoots the boar, while a pack of dogs jump on the carcass. On the left Shiva, in the guise of a kirata, aims at the boar at the same time as Arjuna.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, south bay, east end
Date: First half of the 16th century
Description: A fight ensues, between Arjuna and the kirata, on whose bag the boar is. The person lying on the ground with a headgear made of leaves must be Shiva in the guise of a hunter. Behind Arjuna is the fragment of a figure, probably Parvati. Eventually, Arjuna sees the third eye of Shiva and realising the identity of his opponent begs for pardon.
In the concluding tableau Shiva and Parvati appear in their divine form, riding on Nandi, along with the ganas. They bless Arjuna who prostrates himself before them.
Location: Andhra Pradesh Temple;Virabhadraswamy Temple;Lepakshi
Positioning: Natyamandapa, central hall, south bay, west end
Date: Paintings, late 20th century
Description: 108 Srivaishnava divyadeshams. On the left; Tirunirmalai (Malai Mel Koyil).Top row: Sri Trivikrama; bottom Sri Chakravarti Tirumaham. 2) The battlefield at Kurukshetra, Krishna recites the Bhagavadgita to Arjuna.
Location: Tamil Nadu Temple;Andal Temple;Srivilliputtur
Positioning: Inner prakara, north wall
Date: mid-17th century
Description: General view; On the left Shaiva pilgrimage places; On the right, the story of Arjuna and of Shiva as Kirata (hunter).
Location: Tamil Nadu Temple;Narumpunatha Temple;Tiruppudaimarudur
Positioning: Gopura first tier, south chamber, east wall
Date: mid-17th century
Description: Top row (left): Worship in a Shiva temple; (right): Arjuna takes leave of his brothers. Second row (left): Worship in a Shiva temple; (right): Arjuna in the forest.
Location: Tamil Nadu Temple;Narumpunatha Temple;Tiruppudaimarudur
Positioning: Gopura first tier, south chamber, east wall
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