On a common rectangular pedestal, Shiva and Parvati (Uma) stand gracefully on separate circular bases meant to represent lotuses. The pedestal is embellished with moldings and has holes in the front and back and rings on the sides to secure it during processions. Despite the fact that they stand on separate bases, the couple's intimate relationship is expressed by Shiva's principal left arm, which embraces (alingana) Parvati and gently touches her left shoulder. This particular iconic type, which became popular for processional images during the late Chola period (ca. 907 -1053), is known in iconographic parlance as umasahita-chandrasekharamurti. The expression may be translated as "Image of the Moon-Crested One with Uma." Because the crescent moon is lodged in his hair, Shiva is called Chandrashekhara, or "one whose crest is the moon." When the two share one lotus base, the image is known as alingana-chandrasekharamurti, or the Embracing Moon-Crested God.

Except for the two additional arms and the third eye of Shiva, this could well be a mortal pair posing for a formal portrait. Of stocky proportion, both figures are robustly modeled. Due to gracefully swaying postures, the contours of their bodies dovetail beautifully to create a harmonious composition, emphasizing their unity. His hair is arranged into a tall chignon, while she wears a crown called karandamukuta. His normal right hand displays the gesture of reassurance and the other balances the battleaxe with two fingers; the upper left hand similarly holds the antelope. Her right hand once held a lotus, and left arm with an empty hand hangs down in a gesture known as lolahasta. As is usual with such processional bronzes, the figures are modeled completely in the round with a finished back, even though, swathed with cloth, it was never seen.