Lot 21A
South Asia, South India, Tamil Nadu, late Chola Period, ca. 10th to 13th century CE. The embodiment of the ideals of Indian beauty; a stunning leaded bronze statuette of the Hindu goddess Parvati (Uma) boasting a curvaceous figure and ornamented as richly as a queen with a tiered, conical headdress (karandamukuta) and a siraschakra at the back of her head. The consort and shakti of Shiva, Uma is considered the epitome of feminine perfection and assumes multiple identities as a young maiden, wife, and mother. In Tamil poetry of the bhakti or devotional saints, the exquisite beauty of Uma is espoused through metaphors of the beauties found in nature: thighs tapered like the plantain tree; waist slender like a creeper; breasts as if golden vessels filled with the nectar of the gods; and an elegant gait expressed through the tribhanga or triple-bend pose; all beautifully expressed in the present example. Her left hand is extended in lolahasta mudra, and the right hand in katakamukha mudra. Size: 3" W x 8.5" H (7.6 cm x 21.6 cm)
Her form exemplifies conventions of the late Chola period with her fleshy torso with triple lines across her belly known as the trivali tarangini, her long legs with defined shins, her voluptuous breasts, and the intricate detail in her jewelry, drapery, and bodily features.
The goddess Parvati, also known as Uma, daughter of the mountains, is traditionally understood as the consort of Shiva and is usually presented as a beautiful woman without any superfluous limbs, as we see in this example. When she finally attracted Shiva, after a long and physically grueling courtship, he shared with her the secrets of the world, a conversation that would lead to the dispersal of this elite knowledge amongst the wise. At first Parvati, like most female deities (shakti), was viewed as a minor deity. However, between the 5th and 13th centuries, Parvati became a subject of worship in her own right rather than a mere consort to a male deity, with temples erected in her honor. It was at this time that Parvati became a major deity known as Durga and Kali. This sculpture depicts Parvati in all of her glory.
The expert craftspeople of the Chola period produced bronze figures of the goddess Uma that are among the most sensuous images in the corpus of Indian art. The commission and production of such processional bronzes was a meritorious act by royal or wealthy devotees. While the construction of temples was considered the ultimate demonstration of wealth and power, the commissioning of bronzes was within the financial accessibility of the nobility, merchant and priestly classes. As the cost of production, in precious materials and manual labor, was relatively high, the production of bronze images exhibited dedication and devotion to the Shaivite tradition, which was intrinsically tied to the political power structure of the Chola empire. In this period, Uma and her consort became the intense focus of devotion.
In the sculptural traditions of South India, images of Uma and her consort Shiva are considered some of the most important for religious rites. In order for Shiva to bestow his beneficence upon the worshipper, Uma must also be present; no matter how humble or rich the temple, the two images considered essential were the linga (the aniconic form of Shiva) and the anthropomorphic group of Shiva and Uma. In the Shaivite agamas or religious texts prescribing proper worship, bronze images of Uma and Shiva can stand in for any ritual if the temple does not have the specified image.
A similar bronze Parvati of a larger scale hammered for $963,750 at Christie's New York as lot 224 on September 18th, 2013 (Live Auction 2724).
Cf. Minneapolis Institute of Art (2009.12.1), the Ashmolean Yousef Jameel Centre for Islamic and Asian Art (EA1987.13), Metropolitan Museum of Art (57.51.3), Saint Louis Art Museum (146:1966), Museum of Fine Arts, Houston (2007.1295), and Daytona Art Institute (1966.46).
Provenance: private Los Angeles, California, USA collection, acquired in Santa Monica, California in the early 1990s; ex-art dealer P. Pamaspry, Singapore collection
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#180958
- Condition: Expected nicks and abrasions, commensurate with age, but otherwise intact and excellent with impressive preservation of detail and rich patina throughout.
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| From: | To: | Increments: |
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| $0 | $299 | $25 |
| $300 | $999 | $50 |
| $1,000 | $1,999 | $100 |
| $2,000 | $4,999 | $250 |
| $5,000 | $9,999 | $500 |
| $10,000 | $19,999 | $1,000 |
| $20,000 | $49,999 | $2,500 |
| $50,000 | $99,999 | $5,000 |
| $100,000 | $199,999 | $10,000 |
| $200,000 + | $20,000 |