features. Best among them are the dark black basalt figures in the temple niches of Dakshinamurti, the image on the southern side of Shiva in a teaching attitude, and to the west, Shiva erupting out of the pillar of light to convince Brahma and Vishnu of his superiority. The front mandapam is in the form of a huge chariot drawn by horses. The final example of this period is the Kampaheswarar temple at Tribhuvanam near Kumbakonam which has survived in good repair as built by Kulothunga III. The architecture of this temple is similar to the temples at Tanjore, Gangaikondacholapuram and Darasuram. Sculpture and bronzes The Chola period is also remarkable for its sculptures and bronzes. Among the existing specimens in the various museums of the world and in the temples of South India, may be seen many fine figures of Siva in various forms accompanied by his consort Parvati and the other gods, demigods and goddesses of the Saivaite pantheon, Vishnu and his consort Lakshmi, the Nayanmars, other Saiva saints and many more. Though conforming generally to the iconographic conventions established by long tradition, the sculptor could also exercise his imagination within the boundaries of the canonical Hindu iconography and worked in greater freedom during the eleventh and the twelfth centuries. As a result, the sculptures and bronzes show classic grace, grandeur and taste. The best example of this can be seen in the form of Nataraja, the Divine Dancer. Purpose of the Icons While the stone sculpture and the inner sanctum image empowering the temple remained immovable, changing religious concepts during the period around the 10th century demanded that the deities take part in a variety of public roles similar to those of a human monarch. As a result, large bronze images were created to be carried outside the temple to participate in daily rituals, processions, and temple festivals. The round lugs and holes found on the bases of many of these sculptures are for the poles that were used to carry the heavy images. The deities in bronze who participated in such festivities were sumptuously clothed and decorated with precious jewellery. Their every need and comfort were catered to by a battery of temple priests, musicians, cooks, devadasis, administrators and patrons. The lay public thronged the processional route to have a darshan and admired their beloved deity for the lavish depiction of the figure and the grand