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拍品专文
In a bold representation of femininity and the power of the divine, the goddess is carved straight on, splendidly bejeweled, with a composed expression. Wielding weapons in her upper arms, the remnants of her lower, proper left hand are raised in abhayamudra, the gesture of protection. Shaivite iconography, such as her trident, sword and the crescent moon adorning her braided chignon suggest the formidable goddess may be Durga, the demon-fighting manifestation of Devi.
The twelfth sculpture has been variously attributed to originating from the South Indian Hoysala Empire (1026-1343) and more recently, 12th century North India. However, the stone and style of carving appears most related to the western Indian workshops in Rajasthan and Gujarat. Compare the arcaded niche, plump faces, curved brows, gentle smiles and tidy jatamukuta to those features on a black stone stele of Umamaheshvara from Gujarat, eleventh century, sold at Christies New York 13 September 2017, lot 614.
The twelfth sculpture has been variously attributed to originating from the South Indian Hoysala Empire (1026-1343) and more recently, 12th century North India. However, the stone and style of carving appears most related to the western Indian workshops in Rajasthan and Gujarat. Compare the arcaded niche, plump faces, curved brows, gentle smiles and tidy jatamukuta to those features on a black stone stele of Umamaheshvara from Gujarat, eleventh century, sold at Christies New York 13 September 2017, lot 614.