Somaskanda, anonymous, c. 1100 - c. 1200 The composition consists of three figures placed on a pedestal. The four-armed SIVA is in the so-called Lalita-asana posture (where one leg hangs down). His right forearm shows the gesture of the reassurance (Abhaya-Mudra); The left forearm is in the Kataka-Mudra. The other two arms hold an ax (right) and a deer (left), well-known attributes of Siva in South India. The god is accompanied by his wife Uma (Parvati), also depicted sitting, and his son Skanda, depicted here as a small child standing among his parents. Tamil nadu bronze (metal) casting The c
Somaskanda, anonymous, c. 1100 - c. 1200 The composition consists of three figures placed on a pedestal. The four-armed SIVA is in the so-called Lalita-asana posture (where one leg hangs down). His right forearm shows the gesture of the reassurance (Abhaya-Mudra); The left forearm is in the Kataka-Mudra. The other two arms hold an ax (right) and a deer (left), well-known attributes of Siva in South India. The god is accompanied by his wife Uma (Parvati), also depicted sitting, and his son Skanda, depicted here as a small child standing among his parents. Tamil nadu bronze (metal) casting The composition consists of three figures placed on a pedestal. The four-armed SIVA is in the so-called Lalita-asana posture (where one leg hangs down). His right forearm shows the gesture of the reassurance (Abhaya-Mudra); The left forearm is in the Kataka-Mudra. The other two arms hold an ax (right) and a deer (left), well-known attributes of Siva in South India. The god is accompanied by his wife Uma (Parvati), also depicted sitting, and his son Skanda, depicted here as a small child standing among his parents. Tamil nadu bronze (metal) casting
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Photo credit: © piemags/rmn / Alamy / Afripics
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