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A COPPER ALLOY FIGURE OF SHIVA CHANDRASHEKHARA TAMIL NADU, CHOLA PERIOD, CIRCA 1100 
美国 北京时间
2021年03月17日 开拍 / 2021年03月15日 截止委托
拍品描述 翻译
Property from the Collection of Siddharth K. Bhansali A COPPER ALLOY FIGURE OF SHIVA CHANDRASHEKHARA TAMIL NADU, CHOLA PERIOD, CIRCA 1100?15 3/4 in. (40 cm) high 注脚 It is extremely rare for a Chola bronze to be preserved together with its aureole. Aside from those cast around Natarajas that are integral to the base, one would struggle to find any in a publication dedicated to Chola art. This fortunate sculpture depicts Shiva in his representation as Chandrashekhara, the "Moon Crested Lord". Having four arms, his two inner hands display the gestures of dispelling fear (abhaya mudra) and inviting his devotees to request boons from him (ahuya varada). With two outer hands, he holds a battle-axe and a deer that leaps toward him, conferring his status as "Lord of the Animals" (Pashupati). Perfectly upright, Shiva Chandrashekhara stands on a lotus pedestal presented before a bold arch of pointed flames.???Explaining the representation of Shiva Chandrasekhara, Rathnasabapathy recounts, "The legend behind the depiction of the moon on Siva's crown is that the moon god, who got into trouble with other gods, was persecuted by them during the 'Churning of the Ocean of Milk'. Helpless, the mood god found asylum in the person of Siva, who as a gesture of kindness wore him prominently on his crown. All the gods had therefore to bow before him in this advantageous position on the crown of Shiva. Wearing of the moon is therefore symbolic of protection and acceptance of asylum to the downtrodden by the grace of God." (Rathnasabapathy, The Divine Bronzes, Tamil Nadu, 1982, p.57.)??While this bronze has been published by Pal with an attribution of 975-1000, it demonstrates features of a more mature Chola style, for which the dating of circa 1100 is more appropriate. Said features include the wheel-like border encircling the sirischakra behind the back of the head. (The sirischakra is another element that is frequently missing from Chola bronzes but is preserved here). The length and projection of his side tassels (katisutra), flailing and plunging by the side of his hips and legs are indicative of Chola bronzes made after the 10th century. Additionally, the sash around his groin slackens acutely at his inner thigh like bronzes from the 11th century onward. For reference, see Sivaramamurti's treatise on dating by dress and ornamentation in?Sivaramamurti, South Indian Bronzes, New Delhi, 1963,?pp.24-43 (particularly, figs.14c & 24c). Conversely, the oval face and figural plasticity show more nuance than the heavily stylized Chola sculptures of the late 12th and 13th centuries. Another Chandrashekhara bronze (attributed to the 12th century) is in the Haridas Swali Collection, Mumbai and provides an excellent stylistic comparison (ibid., no.61b). The figure stands on a similarly cast lotus pedestal and the base has equally long tenons, once used to mount its lost aureole.?Published?Pratapaditya Pal,The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans, 2011,?p.157, no.85.??Exhibited?The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans Museum of Art, 5 August - 23 October 2011.??Provenance?Collection of Siddharth K. Bhansali, New Orleans?Acquired in London between 1978-83

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