Shiva and Parvathi are the most portrayed and celebrated male an female couple in Hindu pantheon. Shiva presents the male cosmic power while Parvati (reincarnation of Shakti) constitutes the female cosmic power. Often Shiva takes the form of half Parvati and the other half himself (Ardhanari) symbolising the harmony and synonymity between the two gender-powers.
Nandi as a vahana or vehicle of Shiva and Parvati is more a Dravidian Hindu concept whereas the horse as vehicle of the two deities is an Aryan depiction of their superiority. South Indian art and sculpture of Shiva & Parvati include Nandi as their vehicle whereas that of the northern India incorporate the the less traditional vehicle the horse.
Shiva and Parvati remain the primordial powers of the world in Hinduism demonstrating gender as the basics of human life. The Lingam representing male force, and Yoni, the female power are both the concept of love and procreation taking their roots in Indus culture of the proto-Dravidians or the Pre-Aryans. The power of both the female and male force is represented in the image of Ardharnishwara, an androgynous form of Shiva and Parvati. This concept of unified power of the male (Shiva) and the female (Parvati) takes its origin in the 9th and 10th centuries during the Chola period. One of the earliest images of Ardharnishwara from the 9th century AD was found in Sri Lanka and is displayed at the Colombo Museum demonstrating the Hindu influence on the adjacent island during the reign of the Raja Raja Cholan when Hindu culture reigned supreme in southern India . Incidentally the Hindu images unearthed at Polonnaruwa in Sri Lanka constitute strong evidence for the Hindu influence in the island off the tip of south India.
The current Hinduism is a fusion of nature gods of the Aryans and the personified tribal gods of the Dravidians looking at the religion in a broader perspective. The Hinduism of southern India is more representative or mother or female guardian culture with innumerable female deities such as Shakti, Parvati, Meenakshi, Kali, Durga, Valli and scores of others. In the same tone the family aspect Hinduism is reflected in Shiva and Parvati, their son Ganesha, and the couple Vishnu and Lakshmi. While the latter predominate in Vaishnavism, dual Shiva and Parvati iconography is the hall mark of Shaivism, second only to Tandava (dance) of Shiva as Nataraja. The mythologies of these deities have provided the playing field for the artisans through their display of their art and skill in gifting us with Hindu Art and sculpture from the glorious past.
The Hindu iconographies such as Durga slaying Maheshasuramardini, Krishna stealing cheese, Kaliya serpent submitting to Krishna, Shiva courting Parvati, Vishnu holding Lakshmi and the Tandava dance of Shiva are not only awe inspiring for the Hindu devotees, but also an immeasurable pleasure for the eyes and souls for the connoisseurs of Hindu Art: to them the magic of Hindu art itself has become a religion.
are donations by devotees. It is considered one of the108 Divya Desams or Holy Abodes of Maha Vishnu. Thousands of gold coins and tokens were found here. Since Independence, a trust managed by the descendants of the Travancore Royal Family has managed the temple. However, India’s Supreme Court ordered that the temple valuables will be managed by the State. The actual value in materialistic terms of this temple exceed that of Tirupathi Temple in Andhra Pradesh which was thought to be the richest temple. This value of the treasures at the Vishnu temple is believed to actually exceed that of Tirupathi, and it is believed that in fact there are many other temples which have coins, jewellery and wealth of equal value that may tempt plunder by materialists and government both domestic and international – for example the 108 Vishnu Temples noted above.
Hindu Art 