CENataraja

Shasanadevis of some prominent tirthankaras.
Stylistically they were influenced by the features
of both the Gupta and the Vakataka period
bronzes. Chakreshvari is the Shasanadevi of
Adinath and Ambika is of Neminath.
Himachal Pradesh and Kashmir regions also
produced bronze images of Buddhist deities as well
as Hindu gods and goddesses. Most of these were
created during the eighth, ninth and tenth
centuries and have a very distinct style in
comparison with bronzes from other parts of India.
A noteworthy development is the growth of different
types of iconography of Vishnu images. Four-headed
Vishnu, also known as Chaturanana or Vaikuntha
Vishnu, was worshipped in these regions. While
the central face represents Vasudeva, the other two
faces are that of Narasimha and Varaha. The
Narasimha avatar and Mahishasuramardini Durga
images of Himachal Pradesh are among the very
dynamic bronzes from that region.
In Buddhist centres like Nalanda, a school of
bronze-casting emerged around the ninth century
during the rule of the Pala Dynasty in Bihar and
Bengal regions. In the gap of a few centuries the sculptors
at Kurkihar near Nalanda were able to revive the classical
style of the Gupta period. A remarkable bronze is of a fou

armed Avalokitesvara, which is a good example of a male
figure in graceful tribhanga posture. Worship of female
goddesses was adopted which is part of the growth of the
Vajrayana phase in Buddhism. Images of Tara became very
popular. Seated on a throne, she is accompanied by a growing
curvilinear lotus stalk and her right hand is in the abhaya
mudra.
The bronze casting technique and making of bronze
images of traditional icons reached a high stage of
development in South India during the medieval period.
Although bronze images were modelled and cast during
the Pallava Period in the eighth and ninth centuries, some
of the most beautiful and exquisite statues were produced
during the Chola Period in Tamil Nadu from the tenth to
the twelfth century. The technique and art of fashioning
bronze images is still skillfully practised in South India,
particularly in Kumbakonam. The distinguished patron
during the tenth century was the widowed Chola queen,
Sembiyan Maha Devi. Chola bronzes are the most sought-
after collectors’ items by art lovers all over the world.
Among the Pallava Period bronzes of the eighth century
is the icon of Shiva seated in ardhaparyanka asana (one
leg kept dangling). The right hand is in the achamana
mudra gesture, suggesting that he is about to drink poison.
Nataraja, Chola period, twelfth
century CENataraja
Shiva is associated with the end of the cosmic
world with which this dancing position is
associated.
In this Chola period bronze sculpture he
has been shown balancing himself on his right
leg and suppressing the apasmara, the demon
of ignorance or forgetfulness, with the foot of
the same leg. At the same time he raises his
left leg in bhujangatrasita stance, which
represents tirobhava, that is kicking away the
veil of maya or illusion from the devotee’s mind.
His four arms are outstretched and the main
right hand is posed in abhaya hasta or the
gesture suggesting. The upper right holds the
damaru his favourite musical instrument to
keep on the beat tala. The upper left hand
carries a flame while the main left hand is held
in dola hasta and connects with the abhaya
hasta of the right hand. His hair locks fly on
both the sides touching the circular jvala mala
or the garland of flames which surrounds the
entire dancing figuration

The well-known dancing figure of Shiva as Nataraja
was evolved and fully developed during the Chola Period
and since then many variations of this complex bronze
image have been modelled.
A wide range of Shiva iconography was evolved in the
Thanjavur (Tanjore) region of Tamil Nadu. The ninth century
kalyanasundara murti is highly remarkable for the manner
in which Panigrahana (ceremony of marriage) is represented
by two separate statuettes. Shiva with his extended right
hand accepts Parvati’s (the bride’s) right hand, who is
depicted with a bashful expression and taking a step
forward. The union of Shiva and Parvati is very ingeniously
represented in the ardhanarisvara murti in a single image.
Beautiful independent figurines of Parvati have also been
modelled, standing in graceful tribhanga posture.
During the sixteenth century, known as the Vijayanagar
Period in Andhra Pradesh, the sculptors experimented with
portrait sculpture in order to preserve knowledge of the
royal patron for posterity. At Tirupati, life-size standing
portrait statues were cast in bronze, depicting
Krishnadevaraya with his two queens, Tirumalamba and
Chinnadevi. The sculptor has combined the likeness of
the facial features with certain elements of idealisation.
The idealisation is further observed in the manner the
physical body is modelled to appear imposing as well as
graceful. The standing king and queens are depicted in
praying posture, that is, both hands held in the namaskara
mudra.