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全球拍卖首页 > Bonhams > 印度，喜马拉雅及东南亚艺术 > Lot 644
A BLACKSTONE STELE OF UMA MAHESHVARA ATTRIBUTED TO AMRITA (A.11TH/12TH CENTURY) BANGLADESH, PALA-SENA PERIOD, 11TH/12TH CENTURY
美国 北京时间
2020年09月24日 开拍 / 2020年09月22日 截止委托
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A BLACKSTONE STELE OF UMA MAHESHVARA ATTRIBUTED TO AMRITA (A.11TH/12TH CENTURY) BANGLADESH, PALA-SENA PERIOD, 11TH/12TH CENTURY28 7/8 in. (73.4 cm) high 注脚 孟加拉國 帕拉-色那王朝 十一/十二世紀阿木里塔(活躍於十一/十二世紀)作 黑石濕婆與帕瓦蒂石碑The archetypical loving couple, Shiva and Uma, known in this form as Uma Maheshvara, sit above a lotus throne, their long limbs sensuous and supple, languid and intertwined. Shiva dotes on his divine lover, lifting her gaze towards his with two fingers, stroking her chin. Shiva leans in, supporting his weight with the trident standing above the lotus base. Ithyphallic, he is compelled by her beauty.Below the amorous couple is each of their divine vehicles, the bull and lion in high relief, as well as a kneeling devotee (left), a frolicking, pot-bellied nature spirit (right), and the fierce, emaciated Bhringi, a devotee of Shiva, holding a poking iron aloft (center). Above Shiva and Uma, celestial garland bearers adore them, either side of an exuberant kala face spewing floral curlicues from its gaping mouth.The Senas, under whose rule this sculpture was created, were a Hindu dynasty ruling Greater Bengal who dethroned the Buddhist Palas. Originating from Karnataka, which is known for the extravagant surrounds of its medieval sculpture, the Sena's built upon the Pala style by filling the often plain stele-back with zestful ornamentation. The present stele epitomizes the Sena style in the highest quality, depicting nuanced foliate swirls arising from the tails of geese (hamsas) either side of the subject's throne back. These swirls are narrow and precise and carved very differently from other equally complex and contemporaneous steles. (For example, contrast Lefevre & Boussac, Chefs-d'oeuvre du delta du Gange, Paris, 2007, p.209, no.73). Furthermore, the unusual addition of a pair of budding lotus flowers within the divine couple's tri-lobed halo—further evoking their auspicious generativity—is another detail distinguishing the present lot from the ordinary milieu of Pala-Sena sculpture.In fact, the stele is attributed to a known, skilled stonemason called Amrita, who was active in the 11th/12th century. The specific treatment of the foliate swirls thus mentioned, the articulation of the cloud-edges framing the celestial garland bearers, and the charismatic kala face, show clearly the work of Amrita's hand which carved a stele of Surya in the British Museum with an inscription naming him (1880.3). The inscription also confers on Amrita the title of susilpin, meaning 'master-artist' (Bhattacharya, "Susilpin Amrita", in Journal of the Epigraphical Society of India, vol.9, 1982, p.22). A further defining characteristic of Amrita's style, as identified by Chanda, is what the latter described as a deliberate "aesthetic impulse" to conventionally ornament the top portion of the stele-back with great skill, but to leave the bottom portion surrounding the many diminutive figures plain so as to "to show them off to best advantage" (Chanda, Medieval Indian Sculpture in the British Museum, London, 1936, p.66). Amrita worked in the Varendra district of modern-day Bangladesh and is known to have carved at least one other image with his name on it, a stele of Vishnu in fragmentary condition (Bhattacharya, op. cit., pp.21-2). A large masterpiece of Surya in the Varendra Research Museum is almost certainly by him as well (Lefevre & Boussac, op. cit., p.243, no.91). Also mentioned with the British Museum's Surya, Amrita is known for carefully selecting his stones, sourcing 'Indramilamani', meaning 'sapphire', in praise of the bluish tone of what is more commonly known as Rajmahal slate (ibid., p.21).ProvenanceSotheby's, New York, 2 June 1992, lot 78

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