Page 94 - Maitri CollectionAsian Art Bonhams

“I prostrate myself before you, O Ganeshvara,
Your icon is a hallowed charm
That assures fulfillment of all desire.
With the fanning of your broad ears,
You scatter away all obstacles,
As though they were weightless as cotton. “
(Opening invocation from the 12th-century Manasollasa by the Western Chalukyan King
Someshvara III [r.1127-38].)

3229
A COPPER ALLOY FIGURE OF GANESHA
TAMIL NADU, VIJAYANAGARA PERIOD, 15TH CENTURY
15 in. (38 cm) high
$80,000 - 120,000

Lord Ganesha is cast with a genial character and an elegant gait, seemingly light-footed
and unencumbered by his rotund stomach. He wears a modest amount of regalia, with
more emphasis given to the swells and contours of his limber modeling. The warm
chocolate-brown bronze survives unencrusted with a smooth patina around raised
edges from successive caressing and ablutions. With four arms, he holds his typical
accouterments: from left to right, of the ax, broken tusk, ladhu, and lasso.

The bronze is an intriguing early Vijayanagara period sculpture displaying much of the
accomplished modeling associated with Chola bronzes. It is only on closer inspection
of the regalia, such as the rectangular elements of the necklace, that one realizes the
bronze is archaistic in character, recalling vesture no longer worn by the court and
thus recreated without precision. At the same time, however, the bronze is far from the
mature Vijayanagara style that developed by the 16th century, characterized by greater
abstraction within figures and attributes, and clad more heavily in baroque ornamentation.
Contrast, for instance, with a Ganesha sold at Christie’s, New York, 21 September 2007,
lot 111.

Thus, the Maitri Ganesha is a transitional work between Chola and Vijayanagara styles.
Because of the chaos ensuing from the transfer of power between the two dynasties,
Dehejia has cautioned against assigning rare bronzes of this kind to the 14th century,
and an early 15th century date for the sculpture seems appropriate (Dehejia, Art of
the Imperial Cholas, New York, 1990, p.125). Its smooth features, projecting ears,
simplicity of ornament, and whimsical stance are closely related to a Ganesha in the
Victoria and Albert Museum, currently attributed to the 11th-12th century Chola period
(acc.#IS.2-1951).

This light-footed and friendly disposition adds to the present lot’s charm when compared
to many Chola Ganeshas, for the spirit of the bronze is much more in keeping with
the feelings most people have towards the deity. By contrast, two 12th-century Chola
examples each portray a more serious and imposing figure of Ganesh, with sturdier
proportions and a more immovable stance (see Christie’s, New York, 15 March 2016,
lot 295; and Metropolitan Museum of Art acc.#2015.500.4.12; Pal, The Sensuous
Immortals, 1978, pp.130-1, no.75). These Chola sculptures are exceptional in modeling,
but, for most, Ganesha is merry, loveable, and mischievous – and as Grewal eloquently
describes:

“Ganesha is also a most accommodating deity, easy to please. He does not demand
lengthy penance or austerities of his devotees but is contented by simple devotion,
provided only that it is sincere.” (Grewal, Book of Ganesha, New Delhi, 2012, p.5.)

Provenance
Private European Collection, 1950s/60s
Millner Manolatos Ltd, London, 17 October 2004
Collection of John Bowden, 2004-c.2010

92 | BONHAMS