Sembiyan Mahadevi
Empress of the Chola Empire, r. 949–957
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Through Chola Empire, India and Hindus
After her husband Gandaraditya Chola's death, she immediately lost her title as Queen and Empress and was later known as the Queen dowager of Thanjavur (Queen Dowager and mother of the king). She lost all of her power as queen and empress and only wore white which was known as the grief color, setting her self into mourning for the rest of her life.
The mother of Madhurantaka Uttama Chola
She was the queen of Gandaraditya Chola (Sri-Gandaraditta Devatam Pirattiyar) and is always referred to as the mother of Uttama Chola, Uttama Chola Devarai Tiru-vayiru-vaiykka-udaiya Pirattiyar Sri Sembiyan Mādeyiar (the queen who had the fortune to bear Uttama Chola Deva), also known as the Great Queen of the Sembiyan. This distinction is made in the inscriptions to differentiate her from the other queens who held the title both before and after her. Various inscriptions indicate that she was the daughter of a Mazhavarayar chieftain. In the beginning, she consistently identifies herself as the daughter of Sri Sembiyan Mādeyiar.
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Patron of Art and Architecture
She was very pious and was an avid temple builder and has built numerous temples some of which are at Kutralam, Virudhachalam, Aduthurai, Vakkarai, Anangur, etc. She has made some of the most lavish endowments of the Chola empire. Tiru-Ara-neri-Alvar temple was one of the earliest temples built by her. She bestowed several gifts of bronzes and jewellery to the Kalyanasundaresar temple of Thirunallur or Nallur Agraharam in 967-968 CE, including the bronze idol of the goddess of Nallur temple worshipped today (known as Uma Paramesvari), whose style is typical of Sembiyan bronzes.
Honored
From an inscription of Parakesarivarman Uttama Chola, we know that a regular śribali ceremony has been arranged at the UmaMahesvarasvamin temple at Konerirajapuram every month on the day of jyeshta, the natal star of the queen:
As many as 4,151 kalam of paddy and lands, whose measurements are given in great detail, were provided for, in order to maintain the regular service in the temple, such as..the śribali-ceremony held on the natal star jyeshtha of queen Sembiyan-Madeviyar, feed brahmanas,..
Sacred
Sembiyan Mahadevi was a consummate temple builder and a highly respected patron of the arts. During her lifetime, special celebrations marked her birthday in the Shiva(Śiva) temple in the town of Sembiyan Mahadevi, named after her, and a metal portrait of the beloved queen was presented to the temple in her honor, possibly commissioned by her son. As such, it would have been recognized as Sembiyan Mahadevi by its use in processions celebrating her birthday. This highly stylized bronze image is an instance of the blurring of lines between royal and divine portraiture in ancient Indian art. The pose is reminiscent of the goddess Parvati. Indian artists often portray Hindu deities with great attention to arm/hand details to emphasize their omnipresence and omnipotence. A variety of hand gestures, known as mudras, are used to express the mood and meaning of the images of the gods. For instance, when the palm is raised to face the worshiper, it is the gesture of protection (abhaya), while a lowered hand with the fingers pointing downward signifies a promise to grant the devotee's wishes (varada). The contrapposto pose, known in India as tribhanga, or triple-bent, was a popular stance; it produced a sense of swaying movement, and most images, whether human or divine, are thus poised.
Visual metaphor
A metaphor in literature juxtaposes two seemingly unrelated things to highlight certain important aspects of one of them. The same is possible in visual art. With all exaggerated features, Sembiyan Mahadevi bronze is not meant to be taken literally. Sembiyan Mahadevi is a visual metaphor yet the most elusive from neuronal and aesthetic perspective. According to Ramachandran the exaggerated features of Sembiyan Mahadevi are meant to symbolize specific divine attributes.