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Lot Essay
Chandrashekhara, which translates as “moon ornamented lord”, is a benevolent form of the Hindu god, Shiva, worshipped primarily in southern India. Here, he is identified by the thin crescent moon centered in his matted coiffeur, as well as the leaping stag and battle-axe, which refer to the god’s role as lord of the animals and victor over all enemies.
This large and finely cast work stands erect in samapada on a circular lotus base supported by a multi-tiered square plinth. His principal right hand is in the fear dispelling abhayamudra and his left gracefully dispensing boons in varadamudra. In his upper right hand he holds an axe, while an antelope delicately balances on the fingers of his left hand. Compare with a seated figure of Shiva, holding the same attributes, also in the sale (see lot 22). His broad shoulders are accentuated by a tapered waist and soft bulging belly. His elongated torso is supported by muscular legs covered in a short patterned dhoti secured by a multi-stranded belt with festoons and sashes trailing down his sides. Meant to be viewed in the round, the back of the sculpture is no less masterful than the front. His muscular back and pronounced buttocks project three-dimensional power. His tear-drop shaped face is accentuated by arching eyebrows, almond-shaped eyes, a straight aquiline nose, and gently smiling lips. His hair is piled into an elaborate high headdress with tendrils cascading down his back. The shirashchakra, a wheel-like halo, appears to float behind his head.
The Vijayanagar period marks the continuation of an exceptional tradition of bronze work that originated during the Pallava period and was further refined during the Chola dynasty. Masters of form, these artists created images emanating with sensuality and power. Standing nearly three feet tall, the present figure of Shiva Chandrashekhara is exceptional in both size and grandeur. With a commanding presence, this sculpture was placed in the hallway linking Mr. Ellsworth’s private quarters to the more public areas of his home.
This large and finely cast work stands erect in samapada on a circular lotus base supported by a multi-tiered square plinth. His principal right hand is in the fear dispelling abhayamudra and his left gracefully dispensing boons in varadamudra. In his upper right hand he holds an axe, while an antelope delicately balances on the fingers of his left hand. Compare with a seated figure of Shiva, holding the same attributes, also in the sale (see lot 22). His broad shoulders are accentuated by a tapered waist and soft bulging belly. His elongated torso is supported by muscular legs covered in a short patterned dhoti secured by a multi-stranded belt with festoons and sashes trailing down his sides. Meant to be viewed in the round, the back of the sculpture is no less masterful than the front. His muscular back and pronounced buttocks project three-dimensional power. His tear-drop shaped face is accentuated by arching eyebrows, almond-shaped eyes, a straight aquiline nose, and gently smiling lips. His hair is piled into an elaborate high headdress with tendrils cascading down his back. The shirashchakra, a wheel-like halo, appears to float behind his head.
The Vijayanagar period marks the continuation of an exceptional tradition of bronze work that originated during the Pallava period and was further refined during the Chola dynasty. Masters of form, these artists created images emanating with sensuality and power. Standing nearly three feet tall, the present figure of Shiva Chandrashekhara is exceptional in both size and grandeur. With a commanding presence, this sculpture was placed in the hallway linking Mr. Ellsworth’s private quarters to the more public areas of his home.