Sculptures from the Pallava and Chola eras in Tamil Nadu depict Goddess Saraswati without the veena, revealing an earlier form of her iconography [1].
These findings are significant because they suggest that the association between the goddess and the musical instrument is a later development rather than an ancient constant. This shifts the understanding of how divine symbols evolved in Indian art and spirituality over centuries.
The artworks originate from two of the most influential dynasties in South Indian history, the Pallavas and the Cholas [1]. In these specific depictions, the goddess does not hold the stringed instrument that is now considered a primary attribute of her identity.
Art historians said that this absence provides a window into a transitional period of religious art. The evolution of such imagery often reflects changes in cultural priorities, philosophical shifts, or the integration of different regional traditions into a centralized iconographic standard.
"The veena, today regarded as inseparable from Saraswati’s identity, appears to have emerged as her dominant symbol only in the later period," a report from The Hindu said [1].
The discovery emphasizes that religious iconography is fluid. By examining these early sculptures, researchers can trace the timeline of when specific attributes became standardized across the subcontinent [1].
“The veena, today regarded as inseparable from Saraswati’s identity, appears to have emerged as her dominant symbol only in the later period.”
The identification of these sculptures provides empirical evidence that the visual language of Hindu deities evolved over time. By proving that the veena was not always present in the depiction of Goddess Saraswati, historians can better map the chronological development of Indian art and the gradual standardization of religious symbols across different dynasties.
