talk 10 the bronze images - indian heritage
TRANSCRIPT
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Indian artFrom Indus valley to India today
G Chandrasekaran
S Swaminathan
Talk 10
The bronze images
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Man has been always inquisitive and inquiring.
Starting with ritualistic practices, man, among other things, has been making images, which came to acquire
greater and greater sophistication, in other words, more and more artistic.
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He has tried his hands on all kinds of material he could find: stone, clay, wood, stucco, ivory, metal etc.
Each of these had limitations.
Then, only a few stayed longer, like stone and metal.
We shall consider art in metal, which is an absorbing story.
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The history of metal casting for images starts with the Indus civilisation,
and the ‘Dancing girl’ is the earliest masterpiece.
We had to wait till the Gupta times for more masterpieces.
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The gold coins of Gupta period are a landmark in Indian metal work.
And these are the best India ever had noteworthy for the utmost delicacy of their treatment
and the fine moulding of the details of the figures and the intricate and artistic legends.
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The lion-slayer type presents with the utmost animation and spirit
the might of the prince who could fight the fierce king of the beasts
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Samudragupta is seated on a couch and is playing the lyre.
This presents a visual commentary to an inscription that describes him as putting to shame by his proficiency in music, even the divine musicians Tumburu and Narada.
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A serene Tirthakara recovered from Akota belongs to the Gupta periodand testifies to the height metal castinghas reached at that time
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This contemplative Vishnu, with Narasimha and
Varaha heads on either side, is a fine bronze from
Kashmir, with well-modelled torso in the Gandharan style
which has inspired the subsequent traditions.
Gurjara Pratihara; 8th c. CE
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The lion and elephant motif cast in a very large size, as a support for a seat is an important example of the early Nalanda school.
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Sultanganj Buddhas, Bihar; Pala 8th c. CE
The Pala metalworker has created some of the most charming bronzes
of India.
From Nalanda come a host of lovely bronzes
of both Buddhist and Hindu inspiration.
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Sirpur (Madhya Pradesh). Chedi, ninth century CE
Avalokitesvara, an exquisite bronze from Sirpur, Central India.
An inscription in Nagari on the pedestal gives the name of the sculptor as Dronaditya
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This is one among the finest metalwork figures,
typical of the period.
Gomatesvara, Rashtrakuta, 9th century CE
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An extremely important bronze not only for its simple and effective workmanship, but also because it is inscribed in the reign of the ruler, Mahipala-deva.
Vishnu, flanked by Sri and SarasvatiGurjara Pratihara, 10th century CE
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Lost Wax Technique
Bronzes are mostly created using the lost wax technique.
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The process includes kneading beeswax and kungilium
(camphor) with a little oil.
This forms a malleable substance
from which the figure is sculpted
by the master artisan complete with minute details.
This is the wax model.
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The figure is then coated with
several layers of clay and
left to completely dry out
in the shade.
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Then the wax is melted leaving only
a shell of hard crusted clay.
A metal alloy of bronze is then melted and poured
until the necessary thickness is achieved.
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When the metal has filled
all crevices and
has hardened and cooled,
the clay mould is broken,
and the rough statue is
revealed.
It is then cleaned, smoothened
and polished.
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The lost wax method means
that each bronze icon is unique and
the mould is created fresh every time.
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Pallava-s, the art-pioneers in the Tamil country, made metal images for processions and
these were fashioned with the utmost elegance, with all the details worked out in the wax itself.
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This only representation of Natesa in this pose in metal.
In spite of its face being worn out, it can be seen that the modelling of the figure and the treatment of the ornaments and garments have unmistakably the Pallava grace.
Natesa in the urdhvajanu pose
Kuram, Pallava, 9th centiry, CE.
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This is a beautiful little bronze of the transitional period from Pallava to Chola, with a peculiar trait, that of Siva carrying the trisula in one of his hands.
The Somaskanda, Tiruvalangadu, 10th century CE
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Nataraja, Tiruvarangulam, 900-1000 CE
Now we are seeing a masterpiece
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The cosmic dance of Lord Siva
in his Nataraja form
symbolising five actions
known as panchakrtya-s:
creation, protection, destruction
and removal of ignorance
is artistically celebrated,
particularly, in the Chola time
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A fine example
of early Chola art,
this Nataraja is
the outstanding bronze
and ranks among
the finest Chola bronzes.
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Three-eyed and four-armed Nataraja
in chatura-tandava pose,
dancing with the right foot
placed on the prostrate
demon Apasmara and
the left leg resting on the toes.
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The arms are bifurcate
at the shoulders.
The rear right hand holds
the damaru.
The front right in abhaya-mudra
with a serpent coiled
Around the forearm.
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The rear left carries the flame
and the front left arm
is across the body
in the dancing gesture
gaja-hasta.
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The hair dressed as
jata-makuta bearing
a crescent- moon .
Thirteen braided locks are hanging
at the back of the head.
A siras-chakra (damaged)
behind the head.
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A thin sash round the waist,
narrowed in front,
has a projecting loop
on either side.
The costume consists of
short drawers,
worn with an elaborate girdle
with a floral clasp in front.
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Other details include
a tiara with fillet, ear-rings,
a chain of flowers on shoulders,
yajnopavita, a necklace,
udara-bandha, spiral armlets,
armlet with tassel at the elbow,
three bracelets,
wrist rings on fingers and toes
and anklets.
But all these aren’t distracting!
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The prostrate demon holds
a cobra in the left hand,
while the right hand is
in suchi-mudra.
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The image is on a double lotus
oval-shaped pedestal,
mounted on a rectangular block.
There is a ring at each of the four
corners of the base.
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There is an upright on either side
to hold the prabha, which is missing.
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Tcan we imagine making of this six-footer
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Kalyanasundara,
an exquisite group
illustrating
Vishnu and Lakshmi
performing
the marriage of
Siva and Parvati,
Kalyanasundareswara, Tiruvelirkudi, 1000 CE
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Vrishabhantika with Devi, Tiruvenkadu, Early Chola. A.D. 1011
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This is one of
the most effective Chola
bronzes yet discovered.
For sheer grace and
beauty to form,
there is rarely
another to match it.
The locks arranged
as jatabhara fashion are
not easily distinguished
from the snake that is
wound up in them,
but their treatment
is very skillful.
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Confidence shown by a benign smile,
Muraguan is armed appropriately
for the war with Sura-padman,
perhaps, symbolises Rajendra Chola
celebrating his conquest of Java
in Ganga-konda-cholapuram.
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What a sight!
Karanda makuta,
a headband, makara kundala,
three pearl necklaces, yajnopavita,
heavy arm-bands, udara-bandha
and veshti held by lion-buckle.
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His top-right hand holds
Sakthi Padai, given by his mother,
while the other top hand holds
a cock, his standard.
His lower right hand, now broken,
must have held Vajra and
the other one a shield.
His pose is dynamic,
in spite of being in sama-bhaga
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Fusion of Siva, the godhead, and
Parvati, the divine energy,
where the contra-distinction
is brought out to the minutest detail
from tip to toe.
Ardhanarisvara of Tiruvengadu
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Siva's manliness - strong shoulders
and two arms, broad eye, firm
waist and muscular thigh ….
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. . . contrasts sharply with
Parvati's feminine beauty –
supple shoulder, slender arm,
broad hip and a shapely leg.
The differentiation in
the jewellery and dress too
is stark at the points of fusion.
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The contrast is seen on the back too -
Siva’s rock-like shoulder blade against Parvati’s soft.
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Tinnan, as he was known
before he was canonised,
sports a fierce moustache
and a beard,
has just gouged out
his right eyes.
His upper row of teeth
can also be seen.
Kannappa Nayanar of Tiruvengadu
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Neesumbasudani, 11th century CE
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Krishna with Rukmini and Satyabhama, Tiruvarur, 11th century CE
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Nataraja, Kulasekara-nallur, 12th century CE
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Manikkavachakar,
with Tiruvachakam
in his hand
with a Tamil inscription
12th century CE
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Murugan and Valli, Velankanni, 12th century CE
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Parvati, 13th century CE
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Bharata, Tiruchirapalli, Vijayanagara, 15th century CE
Bharata carrying the padukas of Rama on his headis a rare metal sculpture illustrates Bharata as the ideal brother returning home without Rama but with only his sandals, to rule the empire in their name.
Bharata dressed as a gentlehermit like his elder brother, living so in the forest, is full of pathos,and the sculpture is a masterpiece.
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Tirunala Nayak and his queen (part of metal cover for a huge
doorway to the temple sanctum), Near Madurai, 17th century CE
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But the Chola bronze has become
an attractive ‘drawing room decoration’ and
are ‘manufactured under order’, and
are available under various finishes
like ‘antique’, ‘dusty’, ‘gold’, ‘patina’,
‘bronze’ and ‘black’.
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Swamimalai;Rs 30 000 Original Chola
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To conclude, we may look at the Nataraja icon
which some consider as ‘the best metal ever sculpted
by humankind’!
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NATARAJA OF TIRUVALANGADURaja Raja Chola 985-1014 CE).
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Siva is performing “Ananda tandava”.
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It will remind anyone Appar’s descriptionin his celebrated poem ‘kunitta-puruvamum kovvai-sevvayum . . .(arched eyebrows, lips as red as a kovvai fruit, a beatific smile and a raised golden foot . . )
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His four hands are shown playing damaru, in abhaya-hasta, gaja-hasta, and holding a flame of nine tongues symbolising the continuum of energy.
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He wears a jewelled necklace,a beaded one and
a rosary of rudraksha. A makara kundala and a patra kundala adorn his ears
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His right foot is planted firmly on Apasmara and the left foot is poised lightly in the air.
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The jata (the flying hair) and the aureole (tiruvasi) with a series of flames are missing.
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C Sivaramamurthi says:“The pose of this figure, its rhythmic movement, the flexion of the body and the limbs, the perfect smile, the physical proportions and the flowing contours are blended into a pose so amazing that it is no wonder Rodin, the world famous sculptor, considered this to be the most perfect representation of rhythmic movement in the world.”
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“Looking upon the whole of Shiva,in the full flower of life, the flow of living, the air, the sun, the sense of being is a rushing torrent. . The human body attained divinity in that age, not because we were closer to our origins,for our forms have remained the same,but because we believed in freeing ourselves completely from the constraints of now, and we spun away into the heavens.
Aguste Rodin’s outburst after seeing this image (1913)
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“It is a pleasure sorely missed…. . . Shiva is but a slender crescent. What endowment; what pride of body! Today it is perpetual beauty in bronze. The imperceptible movement of the light. One can sense the immobile muscles, bathed in luminescence, ready to erupt into action if the light should shift…”
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Thanks