At the Arthamandapam of the Gangaikondacholapuram Temple, just outside the sanctum sanctorum, stands an unusual image of Goddess Saraswati—one that is notably without the veena, the musical instrument now regarded as her defining attribute.
Seated in padmasana with four arms, the deity is identified as Saraswati by the suvadi (manuscript) she holds in one hand and the akka mala (rudraksha rosary) in another. The remaining two hands hold an ankusha (goad) and a pasha (noose), iconographic features rarely associated with conventional representations of the Goddess.
“She is one of the war trophies brought to Tamil Nadu following the Cholas’ northern campaign. The image originally belonged to the Pala dynasty,” according to R. Komagan, chairman of the Gangaikondacholapuram Development Council Trust.
Historian Kudavasal Balasubramanian, in his book Rajendra Cholan – Victories, Capital and Temples, also identifies the sculpture as belonging to the artistic tradition of North India.
The idol of Goddess Saraswati in the outer prakaram of the Brahadeeshwarar Temple at Gangaikondacholapuram
| Photo Credit:
R. Vengadesh
“She wears a crown, kundalams in her ears and ornaments on her neck, chest, shoulders, arms and legs. She is entirely different from the Saraswati images sculpted in Tamil Nadu and represents the north Indian style. It could be one of the war trophies brought by the Chola kings,” he writes.
The Pala Saraswati is not the only veena-less depiction of the Goddess at Gangaikondacholapuram. The temple is also home to the celebrated Gnanasaraswati, one of the masterpieces of Chola sculpture, located on the walls near the steps leading to the Arthamandapam. Like the Pala image, this sculpture too portrays the Goddess without a veena, suggesting that the instrument became a standard attribute of Saraswati only in a later phase of iconographic evolution.
According to Lalitharam of Visamayam, an organisation that creates replicas of outstanding Pallava and Chola sculptures, the Chola-era Gnanasaraswati is seated on a lotus with her hair arranged in an elaborate jata makuta. She is richly adorned with necklaces, shoulder ornaments, bangles and makara kundalams.
Instead of a veena, she holds a suvadi in one hand and an akka mala in another, underscoring her identity as the embodiment of learning and spiritual wisdom. Of the remaining two hands, one carries a kundigai (kamandalu), while the other is shown in tarjani mudra—a rare and striking gesture in Saraswati iconography.
The idol of Goddess Saraswati in the outer prakaram of the Peruvudaiyar Temple (Big Temple) Thanjavur
| Photo Credit:
R. Vengadesh
While Mr. Komagan believes the Pala Saraswati may have inspired the Chola sculptors who created the Gnanasaraswati, there is no epigraphic or archaeological evidence to conclusively establish such a connection. The absence of the veena, however, is not unique to Gangaikondacholapuram.
Dr. R. Kalaikovan, founder of the Dr. Rajamanickanar Centre for Historical Research, points out that Pallava-period and Chola-period Saraswati sculptures also lack the instrument.
“The Saraswati statues in the Kailasanathar Temple are without a veena. One deity has a suvadi and akka mala in two hands while the other two hands are damaged. Another sculpture carries a kundigai or kamandalu,” he said.
He explained the akka mala and kundigai are traditionally associated with Brahma, the creator God, and Saraswati, revered as his consort, is therefore portrayed with these attributes.
“Even the Saraswati sculptures at the Brihadisvara Temple and Sadaimudinathar Temple at Tiruvalanchuzhi are without a veena. The Gnanasaraswati at Gangaikondacholapuram is especially significant because of the tarjani mudra, a threatening gesture that is highly uncommon in depictions of Saraswati,” he said.
The Saraswati image at the Brihadisvara Temple has suffered extensive damage to its right hand, making it impossible to determine what attribute it originally held.
The idol of Goddess Saraswathi in the inner prakaram of the Airavatesvara Temple at Darasuram near Kumbakonam
| Photo Credit:
R. Vengadesh
Another important example is found at the Airavatesvara Temple, where Saraswati closely resembles the Gangaikondacholapuram sculpture. The Darasuram and Gangaikondacholapuram images depict the Goddess with an uncovered torso, whereas the Thanjavur sculpture shows her with a partially-covered chest.
Although it is difficult to determine exactly when the veena became Saraswati’s defining attribute, sculptures from Hoysala-period temples frequently portray the Goddess holding the instrument, often in graceful dancing postures. Sanskrit literature contains references to Saraswati with a veena. Saraswati and veena are inseparable in Ravi Varma’s paintings.
Interestingly, the presiding deity at the Koothanur Saraswathi Temple—one of the few temples in India dedicated exclusively to Saraswati—is also without the instrument. According to temple inscriptions, the shrine was renovated during the reign of Kulothunga Chola II and is traditionally associated with the Tamil poet Ottakoothar, after whom the village derives its name.
“The presiding deity is seated on a lotus and carries a mudra, a suvadi, an akka mala and a kundigai. The Saraswati depicted on many temple walls with a veena represents the Sangeetha Swaroopa form, which belongs to a later iconographic tradition,” said the temple priest Sundar Gurukkal.
Taken together, the sculptures at Kancheepuram, Thanjavur, Gangaikondacholapuram, Darasuram, Tiruvalanchuzhi and Koothanur point to an important evolution in the iconography of Saraswati. Earlier representations in south India consistently emphasised her role as the Goddess of knowledge, learning and spiritual wisdom through attributes such as the manuscript, rosary and kamandala. The veena, today regarded as inseparable from Saraswati’s identity, appears to have emerged as her dominant symbol only in the later period.
Published – July 08, 2026 06:30 am IST
