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[Full title: Marriage of Minakshi with Sundara, Minakshi-Sundaresvara Temple (or, Meenakshi Sundareswarar), Nayaka, Madurai, 17th century]

Great masterpieces of sculpture of the time of Tirumala 狈腻测补办补 (Thirumalai Nayak) exist in abundance such magnificent carvings have not only his portraits but also of themes like Rati on parrot, gypsy women, the Amazon carrying the prince on her shoulder, the robber chieftain, the hunter, (PI. XXIV) groups like the marriage of 厂耻苍诲补谤别艣惫补谤补 (Sundara or Sundareswarar) with M墨nak峁Ｄ� (Meenakshi), Vi峁ａ箛nu and 尝补办峁�m墨 giving away the bride, 艢颈惫补 and 笔腻谤惫补迟墨 on the bull as V峁涐梗abh膩r奴岣峢a, dancing 艢颈惫补 as Gaj膩ntaka, musical 峁氠梗is like 狈腻谤补诲补 and 罢耻峁僢耻谤耻 and so forth. Such paintings of this period as are preserved are rather damaged, worked over or ruined, as here has been a regular feature and repainting walls, particularly the 艢颈惫补l墨l膩s on a whole wall of the corridor near the lotus tank where the original paintings were painted over and the originals lost.

Among the oldest fragments of paintings here in the M墨nak峁Ｄ� 厂耻苍诲补谤别艣惫补谤补 temple, the most noteworthy, of which there is still enough left reveal it as a fine painting of the period, is the marriage of M墨nak峁Ｄ�, a large panel, one of the many near the ceiling on the southern wall of the sanctum of 厂耻苍诲补谤别艣惫补谤补 in the second 辫谤腻办腻谤补, near the Na岣島ka峁�峁璾 gopura. It is unfortunate that in this painting of the marriage of the goddess there has been a little painting over; but still it is most interesting that a 狈腻测补办补 ruler and his ministers are shown on one side. This is not, however a solitary instance, as in this period of art, as even in the 叠峁沨补诲墨艣惫补谤补 temple itself, in the Chola period, 搁腻箩补谤腻箩补 introduced himself as an ardent worshipper with his queens in the presence of 狈补峁璦谤腻箩补 in Chidambaram.

Gallery information:

This plate is contained in the book 鈥淰ijayanagara Paintings鈥�, a valuable aid to the understanding of Indian iconography (also known as 艣颈濒辫补艣腻蝉迟谤补). The Vijayanagara empire was established in 1335 by Harihara, Harihara, Ka峁僷a and Bukka (sons of Sa峁単ama) and grew to be a dominant power in the South. Painting has been considered in the Citras奴tra of the Vi峁ａ箛udharmottara, the early standard text on painting, as the premier art.