[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [Elements of Hindu Iconography](https://indike.org/pramana/ins.art.rao-1914) › v3.c19.184 # Elements of Hindu Iconography v3.c19.184 Elements of Hindu Iconography v3.c19.184 - **Language:** English ### [v3.c19.184](https://indike.org/pramana/ins.art.rao-1914.v3.c19.184) Another equally remarkable instance of forgetfulness in relation to the image of this goddess is noticeable in the famous temple of Śiva at Tirupparaṅguṉram near Madura. About the end of the eighth century A.D., a pious queen of the then reigning Pāṇḍya king, Jaṭilavarman Parāntaka Pāṇḍya, had a shrine of Durgā excavated in the rock near the shrine of Śiva and got sculptured near it the image also of Jyeṣṭhādevī in half relief. These facts are even now found recorded in an epigraph very near to the group of the Jyeṣṭhādevī images there. Tirupparaṅguṉram is in fact one of the few famous sacred places dedicated to the worship of Subrahmaṇya now. But, unfortunately, there is neither a shrine for that god nor a sculptured representation of him in that place. Pilgrims go there, nevertheless, by thousands on days sacred to Subrahmaṇya, believing that the group of Jyeṣṭhādevī images—which are the principal objects of worship there—in some manner or other represents that god. Possibly at some period in the history of that temple, the central figure of the Jyeṣṭhādevī group came to be draped in masculine god's clothes and to be called Subrahmaṇya, the figure to the right being understood to be Nandikeśvara, the steward of Śiva's household, and the figure of the female to the left being taken to be the first wife of Subrahmaṇya. The pūjāri accounted for the absence of the second wife by stating that the god is sculptured there as he was, before he took his second wife. This so-called image of Subrahmaṇya has by its side a silver śakti (weapon) dedicated perhaps by a pious worshipper. The crow-banner found by the side of Jyeṣṭhādevī in the sculpture is explained to be the cock-banner of Subrahmaṇya. To the pūjāri the absence of six heads, of two wives and of the peacock vāhana as well as many other details characteristic of Subrahmaṇya, did not matter very much. Even the noticeably female form of the central image did not make him hesitate in asserting his opinion that the central figure in the group is indeed that of Subrahmaṇya. - [Previous: v3.c19.183](https://indike.org/pramana/ins.art.rao-1914.v3.c19.183) - [Next: v3.c19.185](https://indike.org/pramana/ins.art.rao-1914.v3.c19.185) - [Up: v3.c19](https://indike.org/pramana/ins.art.rao-1914.v3.c19) --- Source: [https://indike.org/pramana/ins.art.rao-1914.v3.c19.184](https://indike.org/pramana/ins.art.rao-1914.v3.c19.184) · Pramāṇa