An important bronze figure of Shiva as the Supreme Teacher, Dakshinamurti
Property from the Collection of Robert H. Ellsworth
An important bronze figure of Shiva as the Supreme Teacher, Dakshinamurti

SOUTH INDIA, TAMILNADU, CHOLA PERIOD, 13TH CENTURY

Details
An important bronze figure of Shiva as the Supreme Teacher, Dakshinamurti
South India, Tamilnadu, Chola Period, 13th century
Seated on a stylized lotus base in the position of the Supreme Teacher held with the aid of the yogic band, holding a rosary and the sacred fire of knowledge, clad in a short dhoti decorated with circular motifs and secured by a multi-stranded belt, with several necklaces draped across his torso and multiple bands encircling his limbs, his face with the third eye surmounted by a crown with a snake and deity in the finial, a crescent moon in his matted jatas which combine with the tree branches to form a nimbus, accompanied by four seated ascetics, all on a square lotus base, the reverse fully detailed with the trunk of the tree issuing from the base
6 5/8 in. (16.8 cm) high
Provenance
Dr. J.R. Belmont Collection, Basel, before 1964
R.H. Ellsworth Collection
Christian Humann, Pan-Asian Collection, before 1977
Literature
P. Pal, The Sensuous Immortals: A Selection of Sculptures from the Pan-Asian Collection, 1977, p. 133-135, cat. no. 76b.
Exhibited
Los Angeles County Museum of Art, 1977, The Sensuous Immortals, cat. no. 76b

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Lot Essay

Shiva's throne is a skillful interweaving of nature's elements and his own attributes - the seat is a stylized rock or mountain from which a banyan tree emerges, the trunk and the bull providing the throne-back and the leafy branches creating a natural nimbus, all of which cleverly reinforce his identification as a forest-dwelling deity. Though Shiva is not holding his cobra in his hand, they appear in his headdress and also with Apasmarapurusa, the dwarf beneath his foot who personifies ignorance being trodden by knowledge.
Shiva is portrayed as the omniscient young master conveying supreme knowledge to much older listeners, represented by the bearded ascetics seated beside him at all four corners of the plinth; for a later example, at the Los Angeles County Museum of Art, see P. Pal, Indian Sculpture, vol. 2, 1988, cat. no. 139b, p. 264f.

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