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331
A COPPER ALLOY FIGURE OF SHIVA CHANDRASHEKHARA
TAMIL NADU, CHOLA PERIOD, CIRCA 1100
15 3/4 in. (40 cm) high
$250,000 - 350,000
It is extremely rare for a Chola bronze to be preserved together with
its aureole. Aside from those cast around Natarajas that are integral to
the base, one would struggle to find any in a publication dedicated to
Chola art. This fortunate sculpture depicts Shiva in his representation
as Chandrashekhara, the “Moon Crested Lord”. Having four arms, his
two inner hands display the gestures of dispelling fear (abhaya mudra)
and inviting his devotees to request boons from him (ahuya varada).
With two outer hands, he holds a battle-axe and a deer that leaps
toward him, conferring his status as “Lord of the Animals” (Pashupati).
Perfectly upright, Shiva Chandrashekhara stands on a lotus pedestal
presented before a bold arch of pointed flames.

Explaining the representation of Shiva Chandrasekhara,
Rathnasabapathy recounts, “The legend behind the depiction of the
moon on Siva’s crown is that the moon god, who got into trouble
with other gods, was persecuted by them during the ‘Churning of the
Ocean of Milk’. Helpless, the mood god found asylum in the person of
Siva, who as a gesture of kindness wore him prominently on his crown.
All the gods had therefore to bow before him in this advantageous
position on the crown of Shiva. Wearing of the moon is therefore
symbolic of protection and acceptance of asylum to the downtrodden
by the grace of God.” (Rathnasabapathy, The Divine Bronzes, Tamil
Nadu, 1982, p.57.)

While this bronze has been published by Pal with an attribution of 975-
1000, it demonstrates features of a more mature Chola style, for which
the dating of circa 1100 is more appropriate. Said features include
the wheel-like border encircling the sirischakra behind the back of the
head. (The sirischakra is another element that is frequently missing
from Chola bronzes but is preserved here). The length and projection
of his side tassels (katisutra), flailing and plunging by the side of his
hips and legs are indicative of Chola bronzes made after the 10th
century. Additionally, the sash around his groin slackens acutely at his
inner thigh like bronzes from the 11th century onward. For reference,
see Sivaramamurti’s treatise on dating by dress and ornamentation
in Sivaramamurti, South Indian Bronzes, New Delhi, 1963, pp.24-43
(particularly, figs.14c & 24c). Conversely, the oval face and figural
plasticity show more nuance than the heavily stylized Chola sculptures
of the late 12th and 13th centuries. Another Chandrashekhara bronze
(attributed to the 12th century) is in the Haridas Swali Collection,
Mumbai and provides an excellent stylistic comparison (ibid., no.61b).
The figure stands on a similarly cast lotus pedestal and the base has
equally long tenons, once used to mount its lost aureole.

Published
Pratapaditya Pal,The Elegant Image: Hindu, Buddhist and Jain Bronzes
from the Indian Subcontinent in the Siddharth K. Bhansali Collection,
New Orleans, 2011, p.157, no.85.

Exhibited
The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian
Subcontinent in the Siddharth K. Bhansali Collection, New Orleans
Museum of Art, 5 August - 23 October 2011.

Provenance
Collection of Siddharth K. Bhansali, New Orleans
Acquired in London between 1978-83

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