covER : Detail of

catalogue number 57, Parvati,

Vijayanagar Period 1336-1546

Nature Spirit (Ya kshi )

Andhra, Deccan, about 2nd centry ,
41h in. ( all measurements are h eight)
Len t by the Nelson Gallery-Atkins
Museum ( Nelson-Fund), Kansas
City, Missouri 53-52
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 MASTER BRONZES OF INDIA

The Art Institute of Chicago

The William Rockhill Nelson Gallery of Art and

Mary Atkins Museum of Fine Arts, Kansas City

The Cleveland Musum of Art

,1 Detail, Tree of Life
and Knowledge
Vijayanagar Period Asia House Gallery, New York
The Art Institute of Chicago
OFFICERS: \Villiam McCormick Blair, President; Percy 13. Eckhart, Senior Vice
President; Leigh 13. 13lock, Vice President; Frank 13. Hubachek, Vice Presiden t;
George B. Young, Vice President; Edward Byron Smith, Treasurer; /\llan McNab,
Director of Ad111inistration; John Maxon, Director of Fine Arts; S. N. Black,
Co111ptrollerand Assistant Treasitrer; Louise Lutz, Secretary.
TRUSTEES: James W. Alsdorf, Edward I I. Benne tt, Jr., Cushman B. Bissell,
Bowen Blair, William McCormick l3Jair, Leigh 13. Block, Avery Brundage, Percy
13. Eck hart, Marshall Field, William E. 1Jartmann, Frank B. Hubachek, Homer
J . Livingston , Earle Luclgin, Brooks McCormick, Fowler l\IcCormick, Andrew
McNally 111, 'vVilliam i\. McSwain, Walter A. Netsch, Jr. , Edward Byron Smith,
Mrs. J. Harris Ward, Arthur 1\1. Wood, Frank II. \Nood s, George B. Young.

HONORARY TRUSTEES: Mrs. Tiffany Blake, Mrs. Leigh B. Block, Mrs. C. Phillip
MiJJer, Mrs. Joseph Regenstein , Mrs. James \Nard Thorne, Mrs. Suzette Morton
Zurcher.

EX OFFICIO: Richard J. Daley, Mayor of the City of Chicago; Otto I-I. Loser,
Acting Co1J1ptroller,City of Chicago; James H. Gately, President, Chicago Parh
District; i\l bert J. 'vVilcox, Director of Finance ancl Treasur er, Chicago Parh
District.
The William Roc/zhill Nelson Gallery of Art and
Mary Athins Musemn of Fine Arts
Univ ersity Presidents: George L. Cross, Uni\'ersit y of Oklahoma; 'v\1. Clarke
'vVescoe, University of Kansas; Elmer Ellis, Uni\'ersit y of Mi ssouri.

Univ ersity Trnstees: Milton l\1cGreevy, Menefee D. Blackwell , Cliff C. Jones, Jr.
Trmtee s of the ~Mary Atlzins Estate: David B. Childs, Herbert V. Jone s, Jr.

The Cleveland M11Set11n

of Art
Officers: Mrs. R. I lenry Norweb, President; ,\. Dean Perr y, Vice President;
George P. Bickford, Vice President ; Robert I. Cale, Jr. , Vice President ; James N.
Sherwin, Treas11rer; 1\lbert J. Gros sman , Assistant Tre asurer; Burton A. 1\filler ,
Assistant Trearnrer; Sherman E. Lee , Secretary; Ed w in D. Williams , Assistant
Secretary.
Trn stees: George P. Bickford , J,imes TT. Dempsey, Jr. , Robert I. Gale, Jr., Edgar
A I Jahn, Mrs. David S. Ingall s, J,1mcs D. lreLmd, Severance A. Millikin, Mrs.
R. I Tenry Norweh, A. Dean Perry, Ralph S. Schmitt, James N. Sherwin, John S.
Wilbur, Lewis B. \iVilliams , Charles 13. Bolton, F111critm.

The Asia Society

Office rs: John D. Rockefeller 3rd , Chnir111anof the Board of Trn stees; Kenneth
T. Young , Jr. , President; Paul C. Sherbert, Exec11tive Director; Lionel Landry ,
Dep11ty Director; Gordon B. \iVashburn , Gallery Director; Virginia Field, Assis-
tant Gallery Director.

Cop yright by The Art Instit11te of Chicago 1965

Library of Congress Catalog Card N11111ber: 65:275 17
Catalog11e Designed by Everett McNear
Print ed in tl1e USA by H illison & Etten Co111pauy,Chicago
LENDERS TO TI-IE EXHIBITION

George P. Bickford, Cleveland , Ohio

Mr . and Mrs . John D. Rockefeller 3rd, Ne111 Yorh, New Yorh
Museum of Fine Arts, Boston , Massaclntsetts
The Broohlyn Museum, Broohlyn , New Yorh
The Art Institute of Chicago, Chicago, Illinois
The Chicago Natural History Mrneu1111 Chicago, Illinois
The Cleveland Museum of Art, Cleveland , Ohio
The Denver Art l\!Iuseu111,Denver, Colorado
The Detroit Institute of Arts, Detroit, Michigan
Fogg Art i'v1useum, Harvard University, Camhridge, Massachusetts
William Rochhill Nelson Galler y of Art and l\1ary Atbns Mme111n of Fine Arts,
Kansas City, Missouri
Los Angeles County J\1useu1n of Art, Los Angeles, California
The Metropolitan l\1useum of Art, New York, New York
Rhode Island School of Design, Providence, Rhode Island
Royal Ontario Museum , University of Toronto, Canada
City Art Museum of St. Louis, Missouri
Seattle Art Muse111n, Seattle, Washington
Victoria and Albert Museum, London, England
HIorcester Art 1\1useu111,HIorcester, NInssacl111setts
 MASTER BRONZES OF INDIA

Images of bronze or precious met al, like those made of stone , wood, clay or any
oth er material, were me ant for worship. Each material had its own advantages,
and bron ze, in addition to possessing lustre and strength, permitted a jew el-like
refinement and elabo ration not available in other materials. The demand s of
ritual, particularly in the temple s of South India , often made it n ecessary to h ave
images that could be moved easily from one place to the oth er, an d bronze imag es
wer e particularly suited for this. In domestic worship also, wh en it was necessary
for the devotee to travel , for trade , pilgrimage or war, the small er bronze imag e of
his tutel ary deit y could accompan y him much more easily. Bron ze images , for thi s
reason , mu st have been very popular with mon astic orders prosperous enough to
be able to afford them and upon whom wayfaring was enjoin ed as a religious
oblig ation.
Th e images shown in this exhibition are without exception religious in n ature,
repres enting as th ey do the many divinities of th e Hindu , Buddhist , and Jain
panthe ons. The y were generally produced by artists , or guilds of artists, working
at the instance of a patron, whether layman or priest, who desired a parti cul ar
deity to be so represented, eith er for personal worship in a domestic chapel, for
pr esent ation to hi s religious pr ecep tor, or for installation in a temple. His motives
for h aving an image mad e could be one of many; h e may ha ve commissioned it
th rough devoutn ess to a particular god, or in fulfillm en t of a vow, or, usuall y, as
an approp riate disch arge of th e duty of ch arit ableness resu lt ing in the acqui sition
of merit.
Onc e th e artist received a commission he proceeded to make the images ac-
cording to th e rul es of hi s vocation as emb odied in heredit ary knowledge and
oral tradition and in wri tten manuals oft en invested with a sacred chara cter. He
followed the prescribed cano ns of proportionate measurement and iconogr aphy of
th e deity whose image h e was making. The individual artist or group of artists
may or may not have been aware of the symbolical sign ificance of the standards
set out, based as these were on comp lex met aphysical and th eological considera -
tion s, but thes e were undoubt ed ly pre sent , revealin g themselves to the initiated
and knowledgeable worshipper.
The completion of the image by the artist did not mak e it ready for worship .
Before thi s could be done , th e presence of th e particular divinity whom it rep-
resented h ad to be invoked int o it by mean s of special ritual. These could be
elaborate ceremonies, conduct ed in spec ial enclos ur es near the temple whereby
th e lifeless image was given "life" before it was enshrine d and made wort h y of
receiving the divin e honours du e to it. As a corollary to the descent of the divine
presence , it was also possible for it to depart from th e image, due to desecration,
wher eby it becam e temporarily or permanently unfit for worship, losing its sac-
rosanct ch aracter and thu s becoming indistinguishable from any oth er materi al
object. In images u sed for dom estic worship , the consecration and desecration of
images could sometimes be don e befo re an d after every indi vidu al act of worship,
so th at the image, strictly speaking, was a sacred object, a represe nt ation of the
deity, only when it was worshipped.
An Indi an imag e is in the last analysis a symbolical representation of the deity .
It serves as an object by mean s of which communion between the worshipper and
th e worsh ipped is facilitated . To the person at a hi gh stage of spiritu al pro gress
images are not n ecessary, and may even prove to be hindrances, but to th e majority
of th e people, particul arly to th ose who seek deliverance by loving devotion to a
personal god, th ey are thought of as indispensabl e. The attribut es of th e deity,
hi s posture, his several arms holdin g various appropria te emblems, hi s bene volent
30 D etail, Shiva or fierce manner , hi s animal vehicl e, hi s att end ant s or consort s, all the se try to
Lord of the Dance mak e explicit hi s multiform natur e which is to be und erstood as nece ssarily
11th centry tran scending what is materiall y represented. Th e god Shiva , as Lord of the
 Dance, holds in one hand the double -headed drum, symbolising sound, creation,
while in the other is the fire that destroys all that is created. The hand with palm
facing the devotee assures him freedom from fear, while another hand points
to his raised foot which is the place of refuge from ignorance and delusion,
symbolised by the dwarfed demon crushed by the foot of the God resting on his
back. This to the devotee is the form of Shiva manifest, as he danced in the
sacred halls of Chidambaram, familiar to him from mythology and holy lore, while
beyond is the transcendent form of the unmanifest divinity, beyond any attributes
or predication.
The three main religions of India, Hinduism, Buddhism, and Jainism have
gone through many phases in the long period of their existence, during which
they have developed a complex pantheon of divinities and attendant divinities
whose popularity varies with time and region. On the metaphysical plane they
are understood as manifest ations of the indivisible godhead, but on the popular
level they are the gods that peopl e the world of myth and legend, granting boons
to their devotees and destroying th eir enemies. They are profusely represented
in art, and particularly trea sur ed and valued by those cults and doctrines which
emphasize loving devotion as the right path to deliverance . The god Vishnu,
one of the most important Hindu divinities, incarnates himself as Rama, Krishna,
Narasimha, who is half man and half lion, and in various other forms, in order
to reestablish the forces of good temporarily eclipsed by evil; and he is worshipped
in each of these aspects. And so with Shiva, who is adored as Lord of Dance and
of Music, or as the god of fierce aspect who presides over death and dissolution
but is at the same time also the Supreme Deit y beyond differentiation, and in
whom equally inhere creation, pre servation and destruction .
The divinities are frequently accompanied b y their female consorts who repre-
sent their creative aspect. Parvati , the wife of Shiva , is particularly prominent,
often conceived as th e archetypal mother goddess, fertile, benevolent and gracious,
whose nature is shared not only by all other female divinities but by all woman-
hood . In her dark aspect, she is the Goddess of Death , taking back to herself all
that to which she has given birth.
Buddhism and Jainism, whose central figures wer e Gotama the Buddha, and
Mahavira respectivel y, also developed their own mytholo gies and pantheons, re-
lated to those of Hindui sm . Th eir gods and goddesses , the various Bodhisattva s
such as Avalokitesvara and Manjusri, the man y Buddh as and Jin as of whom
Gotama and Mahavira are only one , also form the subject matter of Indian art ,
their images worshipped by th e devotee according to his spiritual station or his
preference.
PRAMOD CHANDRA, Associate Professor of Art, University of Chicago

SEEING THE BRONZES

Indian art is particularly a facet of the culture which produced it. One must
realize that it is not-as in the modem West-an expr ession of the artistic person-
alities which created it. What seems to western eyes as possible self-expression
was meant as the communic ation of various ideas, non e original with the crafts -
men, but held in common by many people.'
To see the difference between the self-revelatory, personal art of the West, and
the anonymous craftsman ship of the subcontinent of Indi a, one has only to put
41 Deta il, Buddha an Indian piece (e.g ., number 41 ), next to a Rodin, or a Lachaise figure of a
Probably from Nagapattinam woman to perceive the essenti al difference of int en tion. The westerners stated
11th -I 2th century what the y saw and how th ey felt about what the y saw. Th e Indian stated what
 he believed to be theologically true, for the bronze images of India may be con-
sidered as the communications of aspects of corporate belief.
If the spectator necessarily always must see the bronzes with an awareness of
their technical elegance, he must not forget that not only do they embody theo-
retical and ideal truths, they also reHect observed fact. The visceral, non -athletic
quality characteristic of the pieces is as characteristic of the human prototypes of
these divine images, even as the muscle-bound figures of Hellenistic art or of Bour -
delle reflect over-muscled human models. The images were not only divinely true
in the terms of their creators' religious opinions, but they specifically reflect
human forms and types.
The paradox of Indian bronzes lies in the coalescence of divine purpose and
human accommodation. The truth of the artifact includes an awareness of physi- EARLY BRONZE
cal movement implicit in the theological imagery and in human fact. The layers
of meaning and context, extended into depth, demonstrate the complexity of the
pieces. As all great works of art do, these exist simultaneously on several levels
of meaning. The western spectator has to admit that he can only dimly perceive
the full meaning of cult images from any society. Ultimately , he must find that
relationships of form are the only viable constant. An appeal to "humanity"
simply will not do, for either this "humanity" has no meaning for him or else
that meaning appears so alien (as in self-immolation , for example) that the
western spectator can only remain as baffied as his ancient, eastern counterpart
would have been in the presence of Rodin's Gate of Hell or, for that matter, as
a French nobleman of the eleventh century would have been in front of Ingres's
portrait of Jenny de Rothschild .
JOHN MAXON, Director of Fine Arts, The Art Institute of Chicago
1
Ananda Kentish Coomaraswamy was for many years the articulate spokesman of what
he called the "traditional" view of art, a sort of neo-Thomistic attitude which has, in
spite of his sentimentality, some application to this subject. The reader who wishes to
pursue the matter is referred to his Is Art a Superstition or a Way of Life? , Newport,
1937, as well as other John Stevens publications, Newport , 1937 ff., by such authors
as John Howard Benson, A. Graham Carey, and Eric Gill.

STYLISTIC AND HISTORICAL DEVELOPMENT

Beginning in the Indus Valley culture as early as 2000 B.C. the Indian predilec-
tion for plasticity, whether in clay, or metal cast from clay, or wax models is
manifested : divinely supple in the famous bronze dancing girl, or imaginatively
pinched and molded in the terra cotta figurines . Pliable qualities dominate the
major facet of the native tradition .
The very few sculptural remainders between about 1500 B.C., the time of the
Aryan invasions, and about 300 B.C. include no significant work in metal. When
2 Head of Buddha
this material does reappear about 100 B.C. it does so in two manifestations-one Later Amaravati School, Andhra
Northern, under the influence of both Central Asiatic Kushan conquerors and Period, 4th century, 3 in. Lent by the
of the later Classical art of the Mediterranean; the other Southern, and more George P. Bickford Collection,
likely derived from the lithe and plastic sculptural forms in stone evolved under Cleveland. Published: Douglas Barrett,
the Andhra and Satavahana dynasties . (Nos. 1, 2.) The reappearance of a devel- Indian Art and Letters, vol. XXVIII,
oped bronze casting technique must have been due to influences from Persia and no. 2, 1954, "The Later School of
the Roman provinces since the first indigenous metal figures of this date from the Amaravati and its Influences, p. 49."
South are elementary flat castings. The interaction of these two major traditions,
Northern and Southern, preceded the appearance of the first classic bronzes of
historic times-those of the Imperial Gupta Dynasty, now unfortunately rare. The
 EASTERN INDIA

3 Buddh a 4 Buddhist Lord of Compassi on

Gupta Period , recovered from Dh anesar Kh era, Banda Di strict, (Ava lokit esvara Padmapani ) Bengal, from Sirpur,
Uttar Pradesh, North India. 5th century, 14% in. Lent by the Pal a Period , 9th century, 6Vz in.
Nelson Gallery-Atkins Museum (Ne lson Fund ), Kansas City, Len t by th e Nelson Gallery-Atkins Museum
Missouri 44-13. Publi shed: Journ al of th e Asiatic Society of (Ne lson Fund), Kansas City, Missouri 54-73
Bengal, vol. 64, pt. 1, no. 2., 1895, p. 155, plates viii and ix.
Rowl and , Benj. The Art and Ar chitectitr e of India , London , 1953,
pl. 86B., Rowland , Benj. Evolution of the Buddha Image ,
Asia H ouse, N .Y., 1963 , plate 14.
EASTERN INDIA

5 Shiva and Uma ( Umamaheshvara -murti) 6 Shiva and Parvati

Bengal, Pala Period, Reign of Devapala, 815-854, 7 in. Bengal, Pala Period, 9th-10th century, 5¥2 in.
Lent by The Cleve land Museum of Art, Lent by Mr. and Mrs. John D. Rockefeller 3rd 62-18
John L. Severance Fund 64.50
Published: Margaret F. Marcus, "Shiva and Um a:
Umamaheshv ara -murti," The Burlington Magazine,
March 1965, pp. 159-160, repr. p. 161, fig. 75.
 Mediterranean elements still persist slightly in the Gupta figure from Dhanesar
Khera (No. 3) and the unified, fully developed Gupta style is strongly persistent
in many of the eighth and ninth century bronze s from Kashmir ( Nos. 14, 15, 17).
This basically Northern tradition has a second flowering in the numerous
bronzes of Bengal and the immediately surrounding regions where declining
Buddhism and resurgent Hinduism flourished together. As the old text Manjusri
Mulakalpa has it , "When Buddhism declined a class of monk-artists arose in the
science and art of making 'newly fashioned images.'" Most of these images are
readily portable types, ex-votos or personal shrines with their finely detailed cast-
ing, often enriched with inlays of silver and copper ( No. 9). Their portability
is attested by their find sites which reach as far as Java and Sumatra, while their
importance as pilgrims' holy offerings is witnessed by dedications from inhabitants
of Bali, Java, Kerala and the Punjab. The bronze art of the Pala and Sena periods
in Bengal was an important international manifestation and its best traditions
(No. 5) were continued to much later times in Nepal and Java.
While Western and Central Indian bronze casters produced work of marked
independence and often startling directness (Nos. 18, 20, 22, 23), the great
achievements of later Indian bronze sculptors are to be found in South India.
There, one finds an amazingly large quantity of superb bronzes in sizes ranging
from a few inches up to four feet in height. Beginning with tentative experiments
in a rather stiff and technically intermediate manner under the Pallavas (No. 24),
South Indian artists rapidly mastered techniques required to produce solid, unique
casts of great complexity (No. 29) and, under the visual tutelage of the dance-
drama (No. 34), a great sculptural style. The best bronzes of the tenth century
(Nos. 26, 28) can compete on equal terms with bronze sculptures from any part
of the world . This Chola tradition maintained an amazing vitality through the
thirteenth century , so much so that the precise dating of images is often difficult.
Poses, derived from the requirements of religious inconography and the movements
of the dance, range from the intense devotion of single worshipping saints ( Nos.
32, 47), complementary male and female groups (No. 37), often fierce represen-
tations of various aspects of a deity (No. 31), to the most famous of all South
Indian icons, the Nataraja , Shiva as Lord of the Dance (Nos. 29, 30, 48, 51). The
chronological development reveals a growing tendency to elegant small scale de-
tail and a dryness of outline characteristic of the bronzes of the Vijayanagar King-
dom. The South Indian bronze style never collapsed completely in the Madura
period and adequate icons are still made, some twelve centuries after the tradition
was established .
SHERMAN E. LEE, Director, The Cleveland Museum of Art

NOTE ON THE TECHNIQUE

With but few exceptions the image s in this exhibition are of solid metal and were
7 Vishnu with Lakshmi and Sarasvati
cast by the "lost wax" or cire-perdu method. No extensive compa rative analyses
Bengal, Pala Period ,
IOth-11th century , 4 311in.
of the metals employed in ancient Indian images have been made and the texts
Lent by th e George P. Bickford availabl e are far from specific. Gangol y mention s a modern amalg am of ten parts
C ollection , Cl eveland copper to one-h alf part bra ss and one -quarter lead, and also refer s to a Thai manu-
script th at calls for some 85 percent copper, twelv e and a half percent tin and two
percent quicksilv er for th e making of Buddhi st images. It would appear , never-
theless , th at the Indi an images cont ain a mark edly high percenta ge of copp er and
that some are of thi s metal in an almost pur e state. Oth ers, especiall y some later
exampl es and man y of the so-called 'folk" imag es, are of brass . Rar ely, the images
are emb ellished with inlay s of silver and copp er, as may be seen in th e small group
 EASTERN INDIA

8 Vishnu with Lakshmi and Sarasva ti 9 Vishnu attended by his personified

Bengal , Pala Period, 11th century, 7-5/ 16 in. attri but es, discus and conch
Len t by th e Ne lson Gallery-Atkins ( Chakrapurusa and Shankh apuru sa)
Museum ( Nelso n Fund), Kansas City, Mis sour i 63-3 Bengal, Pala Period , Late 11th - early 12th century
Bronze inlaid wi th silver and copper, l 7'Vsin .
Lent by The Clev eland Mu seum of Art.
Purchase from the J. H. Wade Fund 64 .453
 from Kashmir. In contrast to the bronze images of Nepal, Tibet, and Eastern
Asia, gilding is seldom employed, though traces of gold covering remain on the
Nelson Gallery Padmapani of the Pala period from Northwest India.
In the "lost wax" proc ess, as described by C. Sivaramamurti (se e bibliography )
the complete image is first modeled from wax in the proportions and with all the
ornaments and attributes specified in the iconographic text s. This wax sculpture
is then coated with clay which has been mixed with finely ground charred husks,
bits of cotton, and salt. Altogether, three coatings of clay are applied, the outer
being the thickest, proper time being allowed for drying between each coating .
Previously, a series of hollow tu bes with Baring, trumpet -like openings have been
attached to the wax image at the back, on the shoulder, nape of the neck and
crown. Next, when the clay mold is h eated, the wax melts and runs out of the
vents, leaving a hollow area exactly the configuration of the sculpture. The
molten metal is th en pour ed in through the hollow tubes , great care being taken
to assure the complete filling of the mold . When the metal has cooled, the clay
is broken away, and the tu bes are cut off, as are also any "Bashings ," that is, protu-
berances that may h ave been caused by cracks or imperfections on the interior of
the mold. Since the mold is destroyed in releasing the metal image no more pieces
can be cast from it; thus, each image is unique and there can be no mass produc -
tion as is possible with th e re-using of piece molds. The bases and pedestals were
made separately and were hollow cast with a clay core which was dug out when
the cast metal cooled.
Theoretically the image should now be complete, and in fact, during the great
classic periods, it apparently ne ede d little or no chasing or sharpening up of details
in the cold metal. In later tim es, when the age of dedicated craftsmanship had
passed , less and less detail was executed in the wax , less care taken in the prepara-
tion of the mold, with the result that much smoothing off of the rough metal was
necessary and the addition of details with chisels and engraving tools on the
hardened metal. It is possible, of course, that such working over may, in special
instances, indicate a provincial origin rather than a late date.
There appears to be some post-casting tool work on the Karaikkala-Ammaiya
image from the Nelson Gallery, and several of the other images in the exhibition.
In the flawless Parvati lent by the Metropolitan Museum, or the majestic Shiva
with Parvati from Cleveland, the visitor can fully appreciate the brilliance and
perf ection of Hindu craftsmanship during the early Chola period and from
such important religious centers as T richinopoli ( Tiruchirapalli ) and Tanjore
( Tanjavur ) of South Indi a.
LAURENCE SICKMAN, Director, William Rockhill Nelson Gallery
of Art, Atkins Museum of Fine Arts, Kansas City

Bibliographical note
For bronze images from South India the major works are: F. H. Gravely and T . N.
10 Buddhist Lord of Wisdom Ramachandran, Catalogue of South Indian Hindu Metal Images in the Madras
( Bodhis attva Manjusri) Museum , Government of Madras, 1932; C . Sivaramamurti, South Indian Bronzes, New
Bengal, Pala Period, 11th-12th Delhi, Lalit Kala Akdami, 1963; and P. R. Srinivasan, Bronzes of South India ,
century. Copper gilt, 12"\4in. Government of Madras , 1963. The most recent publication is: Douglas Barrett, Early
Lent by Th e Cleveland Museum of Chola Bronzes, Bhulabhai Memorial Institute, Bombay 1965. No comparable studies
Art, Purchase, Leonard C. Hanna, Jr. are available for most of the schools of North India. The reader is, however, referred
Bequest 60.285 to K. P. Jayaswal and Stella Kramrisch , "Metal images of the Kurkihar Monastery,"
Journal of the Indian Society of Oriental Art, Vol. II, No . 2, 1934 and U. P. Shah,
Akota Bronzes, Department of Archaeology, Government of Bombay , 1959. Interesting
articles will also be found in the various journals dealing with Indian art, notably
Rupam, Journal of the Indian Society of Orienal Art, and Lalit Kala.
AFGHANISTAN

RAJASTHAN

Gyaraspur
•
•
Sane
hi
M A l W A
MADHYA PRADESH

Pitalkhora
• Sirpur

MYSORE

Aihole•
Yijayanagar
•
WEST ERN INDIA

11 Th e Sun God ( Surya ) 12 Vishnu

M alwa, 10th centur y, 1114 in. 16th century. Brass , 13llz in.
Copper with silver inlay Lent by The Clevel and Mu seum of Art ,
Lent by th e Los Angeles Count y Mu seum of Art , Dudl ey P. Allen Fund 32.116
Mr. and Mrs. Allan C. Balch Collection L.2100. 53-457
 KASHMIR

13 P ersonification of Vishnu' s di scus 14 Vishnu 15 Buddha

( Chakrap uru sa) abo ut 600 , 9V2 in. 8th cent ur y, TVs in . 8th cen tur y. Bron ze with silver
Lent by th e Royal Ontario Lent by the N elson Gallery - Atkin s Mu seum inl ay, 101/zin.
l\1u seum, Uni versi ty of Toronto (G ift of Nas li and Alice H eera mane ck ) Lent by the Ne lson Galler y-
939 . 17.2 1 Kansas C ity, Mis souri 56-130 Atkin s Muse um ( Nelso n Fund ),
Kansas City, Mi ssouri 51-55
16 Tantric Buddhist D eity, a form of Avalokitesvara
9th century. Bronze with silver inlay, 8% in.
Lent by th e City Art Museum of St. Louis
Gift of J. Lionberger D avis 38-256;55

17 Censer, carr ied by Flying Gandh arva

9th-10th century, 7-9/ 16 in.
Lent by th e George P . Bickford Collection, Cleveland
Publish ed: S. E. Lee, "Some Littl e Kno wn Indi an
Bron zes" . Art Qu arter ly, Spring , 1954, Vol. XVII,
no. I, fig. 8, text p . 23
 DECCAN

18 A Jina 19 A Jina (O ne of the 24 Tirthankaras)

Deccan, 8th-9 th centur y, 10% in. Ganga or Chalukya Period, possibl y from Mysore District,
Lent by Mr. and Mrs. John D. Rockefeller 3rd Southwest India. 9th century, 8% in.
63-9 Lent by the Nelso n Galler y- Atkins Museum
( Nelson Fund ) , Kansas City, Missouri 62-49
20 N atur e Spirit ( Yakshi )
Deccan, Chalukya Period, 8th-9th century, 9 in.
Lent by th e Royal Ont ario Museum,
Uni versity of T oron to 939. 17.20

21 Shiva Wearing th e Moon in His

Locks ( Chandras ekara-murti)
Eastern Chalukya Period, 10th century, 19"\4in.
Lent by the Nelson Gallery-Atkins Museum
( Nelson Fund), Kan sas Cit y, Missouri 50-17
Published: C. Sivaramamurti. South Indian
Bronzes, New Delhi , 1963, pl. 30 a, b.
DECCAN

22 Serpent Deity ( Nagaraj) 23 Ambika (Jaina Yakshi )

Deccan, 10th centur y, 7% in. Deccan, 10th - 11th centur y, 15Ui in.
Lent by th e Seattle Art Museum In ll.37 Lent by th e George P . Bickford
Collection, Cleveland
SOUTH INDIA

24 Vishnu 25 Ganesha, the Elephant -headed Son of Shiva

Pallava Period, Late 8th century , 7% in. Chola Period, about 1000, 24% in.
Lent by The Chicago Natural History Museum Lent by the Nelson Gallery-Atkins Museum
150351 ( Nelson Fund ) , Kansas City, Missouri 62-14
 SOUTH INDIA

26 Shiva and Um a ( Umasahita -murti )

Early Cho la Period, 10th century
Shiva: 32\4 in. Uma: 25% in. Base 81h in .
Lent by The Cleveland Museum of Art,
John L. Severance Fund 61.94
27 28
 SOUTH INDIA

27 Shiva's Beloved ( Shivakami)

Chola Period , 10th century, 13 in .
Lent by Th e Cleveland Museum of Art,
Gift of J. H . Wade 24. 745 Publi shed : History and Culture
of the Indian People, vol. 5, illu s. pl. LVIII, fig. 131,
mentioned on p. 672. Bharatiya Vidya Bhavan, Bombay, 1957

28 Parvati
Chola Period, 10th century, 27% in.
Lent by The Metropolitan Museum of Art ,
Bequest of Cora Timken Burnett, 1957. 57.51.3

29 Shiva, Lord of the Dance (Shiva N ataraja)

Chola Period , 11th century, 27 in.
Lent by Mr. and Mrs. John D. Rockefeller 3rd. 65-4

29
 SOUTH IN DI A

30 Shi va, Lord of th e D ance ( Shi va N ataraja)

Ch ola Period , 11th century , 4 3 'Vsin .
Lent by Th e C leveland Museum of Art,
Purch ase from th e J.H. Wade Fund 30. 33 1

31 Vishnu as th e Ma n -lion ( Yogana rashim a)

(V ishnu assum ed th e h alf -man , half -lion
form in order to destroy th e demon Hiran yakshipu )
Ch ola Period , 11th centur y, 19% in.
Lent by th e Ne lson Ga llery- Atkin s M useum
( Nel son Fund ) , Kansas C ity, M issouri 63-2
 33 Parvati
Chola Period, 11th century, 20~ in.
Lent by the Nelson Gallery-Atkins Museum
( Ne lson Fund), Kansas City, Missouri 50-18

32 Young Shaivite Saint (C handik eshvara,

identified by his ax and the garland of flowers
lightly pressed between his hands)
Chola Period, 11th century, 181)1in.
Lent by the Nelson Gallery-Atkins Museum
( Nelson Fund), K;msas City, Missouri 50-19
SOUTH INDIA

34 Rama, an In carn ation of Vishnu

Cho la Period, 11th century, 39 in.
Lent by Mr. and Mrs. John D.
Rockefeller 3rd. 63- 12
SOUTH INDIA

35 A Jina 36 Parv ati

Chola Period , 11th century, 23% in . Chola Period, 11th century, 18 in .
Lent by The Brooklyn Museum 34. 736 a, b Lent by the Museum of Fin e Arts ,, Boston 21.1827
Published: P.R. Srinivasan, Bronzes of South India,
Government of Madras, 1963, p. 291
37 Shiva and Parvati ( Alingana-chandrasekhara -murti ) 38 Shiva as the Lord of Mu sic
Chol a Period , 11th-12th century ( Vinad h ara-dakshina-murti )
Shiv a: 10 in . Uma: 8111in. Base : 3% in. Chola Period, 11th-12th century, 21111in .
Lent by The Cleveland Museum of Art, Lent by the George P. Bickford
Purcha se from the J. H. Wade Fund 54.7 Collection, Cleveland
 SOUTH INDIA

39 Parvati 40 Shiva's Beloved ( Shivakami )

Chola Period, 11th-12th century, 2114 in. 12th century, 24 in .
Lent by Mr. and Mrs. John D . Rockefeller 3rd. 64-8 Lent by the George P. Bickford
Collection, Cleveland

41 Buddha
Probably from Nagapa ttin am,
11th-12th century,
31 in. (incl uding base)
Lent by The Art Institute of Chicago,
S. M. Nickerson Collection 40.83
 SOUTH INDIA
42 Seated Shiva ( Shivasukhasana)
The ax from the back right and the black
buck from the back left hand are missing.
Chola Period, 12th century, 241/2in .
Lent by the Nelson Gallery-Atkins Museum
( Nelson Fund). Kansas City, Missouri 61-7

43 One of the Consorts of Vishnu 44 Vishnu

( Bhu Devi) (Probably from a set of three Chola Period, 12th century, 21 in.
with Shri Devi and Vishnu No . 44) Lent by the Nelson Gallery -Atkins Museum
Chola Period, 12th century, 17% in . ( Nelson Fund), Kansas City, Missouri 56-109
Lent by th e N elson Gallery-Atkins Museum
( Nelson Fund ) , Kansas City, Missouri 56-110
SOUTH INDIA

45 Shiva, Parvati and their son Skanda (Somaskanda-murti)

Chola Period, 12th century, 19tii in.
Lent by the Worcester Art Museum 1951.93
46 Hanuman, the Monkey-god, Att end an t 47 A Female Shaivit e Saint ( Karaikkala-Ammaiya)
of Rama. Lat e 12th century, 16% in. Lent by Chola Period, 12th-13th century, 16% in.
the Victoria and Albert Museum, Lond on . Len t by the Nelson Gallery-Atkins Museum (Ne lson Fund), 33-533.
I.M. 135-1937. Published: Published: Rowland, Benj. Th e Art and Architecture of Ind ia, 1953, pl.
P. R. Srinivasan, Bronzes of South India, 127A. Kramrisch , Stella, The Art of India , 1954, pl. 150. Lee, Sherman,
Madras, 1963 . Fig. 98, p. 157. History of Eastern Art, 1964, p. 174, plate 14.
SOUTH INDIA

48 Shiva, Lord of the Dance (Shiva Nataraja) 49 Rama, an Incarnation of Vishnu

Chola Period, 12th-13th century, 13-3/16 in. About 13th century, 28Vs in.
Lent by the Nelson Gallery-Atkins Museum Lent by the Fogg Art Museum, Harvard University,
(Nelson Fund), Kansas City, Missouri 50-20 Gift of Dr. Denman W . Ross 1930. 459
50 Shaivite Saint 51 Shiva, Lord of the Dance (Shiva Nataraja)
( the Appar -tiruvarakharasu) About 13th century, 36'Vsin.
About 13th century, 19¥1 in. Lent by The Denver Art Museum,
Lent by Th e Denver Art Museum, Dora Porter Mason Collection 0-232
Guthrie-Goodwin Collection 0-665
52 Th e Child Krishn a Dancing (Ba lakrishn a)
( Krishn a is one of the most popul ar
manifestations of Vishnu)
Chola Period, 13th century, 19 in.
Len t by th e Nelson Gallery -Atkins Museum
( N elson Fund), Kans as City, Missouri 34-5
Published: Lee, Sherman, History of Eastern
Art, New York, 1964, p . 214, fig. 268 .

53 A Youthful Sain t
Chola Period, 13th century, 16 in.
Lent by The Art In stitut e of Chicago,
S. M. N ickerson Collection Fund 49. 602
SOUTH INDIA

54 Shiva, Parvati and their son Skanda, (Somaskanda-murti)

Late Chola Period, 13th-14th century, 21 in. at tallest . (In two parts:
Shiva with two pairs of rings: 14% in. Parvati and Skanda with one pair of rings lll!z in.)
Lent by the George P. Bickford Collection, Cleveland
Published: H. Sastri, South Indian Images of Gods and Goddesses, 1916, fig. 67.
55 Shiva, Parva ti and thei r son Skanda, ( Somaskanda-murti )
Vijayanagar Period, 14th century, 18 in.
Lent by the Museum of Fine Art s, Boston 40. 470
56 57
 SOUTH INDIA

56 Parvati
Vijayanagar Period, 14th century,
40'U!in . ( with pedestal)
Lent by The Detroit Institute of Arts 41. 81

57 Parvati
Vijayanagar Period, 1336-1546, 37 in.
Lent by The Art Institute of Chicago,
Kate S. Buckingham Collection 61. 776

58 Shiva , Lord of the Dance ( Shiva Nataraja )

Vija yanagar Period, 1336-1546, 46;4 in.
Lent by the Museum of Art, Rhode Island
School of Design 33. 026

58
SOUT H INDIA

59 Shiva's Beloved ( Shivakami) 60 Vishnu

Vijayan agar Peri od, 1336-1546, 27% in . Vijayanagar Period, 1336-1546, 12-13/ 16 in .
Lent by the George P . Bickford Collection , Lent by the George P. Bickford Collection , Cleveland
Cleveland
61 Tree of Life and Knowledge
Vijayanagar Period, 1336-1546, 24 in.
Lent by the Nelson Gallery-Atkins Museum (Nelson Fund), Kansas City, Missouri 41-35
Published : Kramrisch, Stella, The Art of India, Phaidon Press, 1954, pl. 156