An important bronze group of Shiva and Parvati, Somaskanda

SOUTH INDIA, TAMIL NADU, CHOLA DYNASTY, 13TH CENTURY

Details

An important bronze group of Shiva and Parvati, Somaskanda
South India, Tamil Nadu, Chola Dynasty, 13th Century
The separately cast figures each seated in 'Royal Ease' lalitasana on a waisted lotus base, Shiva with his right leg pendent, his primary hands held in abhaya and ahuya varada mudras, the upper hands holding a battle axe and an antelope respectively, his face with full outlined lips, straight aquiline nose, almond-shaped eyes beneath arched brows, his hair arranged in a tall jatamukuta, wearing beaded necklaces, the sacred cord draped across his shoulder and a broad belt centered by a kirttimukha lion mask, the fingers and toes cast in light relief with rings; the goddess Parvati with large almond-shaped eyes beneath delicate arched eyebrows, surmounted by a high domed topknot and with ear ornaments extending down to her shoulders, wearing a jeweled collar and an upavita passing between her breasts and falling to an elaborate broad belt around her waist, her arms, wrists and ankles adorned with bracelets, both figures with a rich green and reddish-brown patina
26 in. (66 cm.) and 18 in. (47 cm.) high (2)

Provenance

Dr. J.R. Belmont Collection, Basel
Pan-Asian Collection

Lot Essay

Chola bronze sculpture is acknowledged to be among the greatest of all Indian sculpture. The present examples are striking for their large scale, the subtle and fluid modeling, the graceful postures and the supremely refined expression.
When standing or seated together, Shiva and Parvati represent the very image of conjugal happiness. These two separately cast figures would have been inset on a rectangular bronze base, likely with their son Skanda standing between them. As such, they represent the embodiment of Universal parenthood, the mother and father of the world. For another example, with both figures on separate plinths, but of smaller size, formerly in the George P. Bickford and Klaus G. Perls Collections, see S. Czuma, Indian Art from the George P. Bickford Collection, 1975, cat. no. 19; and another example with the figures combined on a single plinth, from the John D. Rockefeller 3rd Collection, see D. Leidy, Treasures of Asian Art, The Asia Society's Mr. and Mrs. John D. Rockefeller 3rd Collection, 1994, fig. 33, p. 51.