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chola bronze art.pptx
1. A Report on“Chola Bronze Art”
Under the guidance of
Prof. Amrit Anurag
In partial fullfilment of
requirement of the subject
in B.A.History (Hons.)
Academic Year-
second year(4th semester)
2. Introduction
Indian bronze exhibit rare charm and exquisite beauty. They are valued for their elegance
and craftmanship. The oldest group of bronze sculptures from the Indian subcontinent
date back to the 3rd millennium B.C.E. Bronze is a alloy of Copper and Tin .Historically it
was often alloyed with three other metals like silver,zinc and gold called PANCHLOHA.
Ocassionally it was alloyed with the eight metals and called ASTHADHATU. Usually Indian
bronzes are cast solid but very often they can be hollow and finished with engravings,
guilding or repouse. The tradition of casting metal images started in North-west India . It
later travelled through the heartland of the country reached south India around 3rd-4th
C.E. and attained the high watermark under the reigns of pallavas cholas and succeeding
dynasties .On the forearm of the hand is placed the Bhujana Valayastrands of his hair
spread horizontally on the either side of his head representing his vigorous dance within
a circular prabhamandala framed with five tipped flames representating the oscillating
universe.
3. 6. Appar South India 10th century
7. Manikkavachakar South India 12th century
8. Krishna South India 12th -13th century
9. kali South India 12th century
10. Natarja Tamil Nadu 12th century
11. Shiva Tripurantaka Tamil Nadu 12th-13th century
12. Budha Phophanar 11th-12th century
s.no NAME PLACE TIME PERIOD
1. Nataraja Tamil nadu 9th-10th century
2. Vishnu South India 17th century
3. Devi(goddess) South India 13th century
4. Devi Tamil Nadu 12th-13th century
5. Devi South India 13th -14th century
4. NATARAJA(Early chola period)
We saw two type of Nataraja sculpture in Delhi Museum , First belongs to early chola
period and second from the later chola period. I am talking about the early chola period
sculpture , 9th -10 th century. The bronze image of Nataraja is in the Chatura -tandava
pose, height 71.5 cm,width-16.o cm, depth 20.7 cm. Natraja is regarded as lord of dance
and his dance is manifestation of his panchkrityas of lord shiva that are creation,
preservation and destruction ,veiling and grace, creation sybolised by the drum.
Preservation by ” fear not” hand gesture, destruction by the fire ,embodiment by the foot
planted on the ground ,grace release by the foot held a loft.
Nataraja shows all five element : Earth , water, fire ,air and space by his dance forms the
purpose of dance release the person from illusion to the ideas of self of physical world .
Left leg of Nataraja is raised diagonally to the right one with his foot up in the air,
denoting the path of salvation. Siva tramples the demon Apasmarapurusha (the image of
ignorance) with his right leg.
5. .
Adorning the head of the lord is a jata-mukuta, embellished with the
river goddess Ganga, a snake, jewels, flowers, a crescent moon and a
human skull.
The art of medieval India, like the art of medieval Europe, was primarily
in the service of religion. The devotee’s spiritual experience was
enhanced by meditation inspired by works of art and architecture. As a
symbol, Shiva Nataraja is a brilliant invention. It combines in a single
image Shiva's roles as creator, preserver, and destroyer of the universe
and conveys the Indian conception of the never-ending cycle of time.
Although it appeared in sculpture as early as the fifth century, its
present, world-famous form evolved under the rule of the Cholas.
Shiva's dance is set within a flaming halo. The god holds in his upper
right hand the damaru (hand drum that made the first sounds of
creation). His upper left hand holds agni (the fire that will destroy the
universe). With his lower right hand, he makes abhayamudra (the
gesture that allays fear.
6. Vishnu, the preserver is most often portrayed holding the militant attributes
that symbolise his protective role. This practically flawless Lord Vishnu
sculpture is from late Chola period (880 to 1279). It is made up of bronze with
height- 84.7 cm, width- 35.6 cm and depth- 22.8 cm. Vishnu has many forms,
but this four-armed form is most common in the historic period of Antique
Chola Lost Wax Bronze Icons, as we seen in the museums and temples
throughout India. Here the Standing Vishnu holds a Shankha or conch shell in
his upper left hand which is used as a war horn to signal troops and in the upper
right hand, he holds a Chakra or discus in the beautiful posture. The Chakra are
the emblems of Vishnu. The Chakra named Sudarshana , a powerful weapon
that is Time personified and symbolise Dharma. It revolves on Vishnu's index
finger and launches at his will. If released on a target its chases it relentlessly
and returns to Vishnu only after destroying its target. His right hand is raised in
Abhaya Mudra (assurance or granting fearlessness) and left extends and rests
near his waist in Katyavalambita Mudra. This sculpture is one of the finest and
is more than a visual description. It is, in fact, an eloquent evocation of God's
very presence. Vishnu is shown here in a state of total equilibrium, his various
powers and potentialities is perfectly balance against each other.
Vishnu
7. DEVI
The Devi (goddess) stands in a tribhanga posture on a lotus pedestal
which is mounted on a rectangular base. The hair is dressed hair with
sixteen spiral locks hanging on the back. The costume consists of a lower
garmet reaching below the knees, which is held at the waist by a mekhala
girdle with tassels and clasp in front. It is of late chola period of 12th-
13th century CE. The height is 59.5 cm, width is 23.5 cm and depth is
19.5 cm and this is a bronze sculpture. It is in standing pose, well
decorated with ornaments showing a typical mudra with right hand. It is
a solid statue and it was cast in bronze during Chola period. This
sculpture reflects feminine features in an excellent manner. It is wearing
very few ornaments which conserve its basic structure. Its most
remarkable characteristics are proportionally designed broad shoulders,
round breasts and narrow waist. A specially designed crown on its head
adds beauty to the structure. It has a live impression of divine dignity
and innocence on its face. It's quite small size and eye catching beauty
and individuality reserve a unique place in the history of Indian art. Now
it is a collection of the National Museum, New Delhi. There are two
sculptures of devi(goddess) but both differ in time period and
dimensions. This also shows the importance of female diety
during Chola period.
8. DEVI
The period of the imperial Cholas in South India was an age of
continuous improvement and refinement of Chola art and
architecture. They utilised the wealth earned through their
extensive conquests in building long-lasting stone temples and
exquisite bronze sculptures, in an almost exclusively Hindu
cultural setting .The goddess or Devi image in India has evolved
from fertility figures in the very early centuries to complex forms
bearing special iconographic features . Devi figures are commonly
seen in Indian bronzes .There are three Devi sculptures kept at
National museum. All the three sculptures look alike but they have
certain minor differences. There is a sculpture of a Devi ( goddess)
which is of 12th-13th century CE of South India.
9. DEVI
An important south India, chola dynasty, bronze figure of devi 13th/14th
century Standing in Tribhanga on a lotus, placed on a rectangular base, her
right hand in front of her well modelled breasts, her left stretched
downwards along her body, wearing horizontal pleated dhoti, belts with
sashes falling near her hip, upavita , necklaces, her face with almond-
shaped eyes, aquiline nose, slightly smiling lips, pierced elongated earlobes,
a diadem with strings behind the ears to which a pair of makaras are
attached and resting on her shoulders, high hairdress falling in strings at
her upper backside, the front with central emblem and a separate moulded
cakra behind86 cm high. This fine bronze is casted under the Chola Dynasty
who ruled South India from A.D. 880 until A.D. 1279. Its inhabitants were
primarily followers of the Saiva branch of Hinduism and worshipped the
main god Siva and his many 'family' members. The bronze under review
might represent Parvati, the consort of Siva. However, as she is not any
longer.
10. Appar
This is the image of the saint Appar, who was popular in South Indian
shavism. The image is identifiable on the basis of the staff that he holds,
and his ascetic like garment. He is standing with joined hands in Anjali-
Mudra, wearing necklaces and arm bands. It is a Bronze statue. The
pedestal that he stands on is symbolic of the double lotus which signifies
purity. It is a sculpture of tenth century, chola period from South India. Its
height is 43.0 cm and width is 18.5 cm and depth is 18.5 cm. It is very
small in size and made in a very fine way. Given clarity to the every part of
the statue. It is not looking heavy. He is also wearing a hat. This sculpture
is situated in National Museum of India in Delhi. It signifies that in that
period people have belief in saints and lord shiva. He was very important
saint that is why they made this sculpture. This is also shows that bronze
metal were using o that period in very high amount. It is also showing the
skills of the craft persons of that period.
11. Manikkanachakar
It is a late chola sculpture of 12th century.Image of shaiva
saint manikkanachakar.Although he is a monk so dressed
accordingly with ringlets falling over the forehead with short
hair Standing straight nd the raised right hand is in China -
mudra (the index finger and thumb are joined) while in the
left he holds the tiruvachkam manuscript bearing a
multilated inscriptionHis shoulder are broad wearing cloth
only on the lower section of the body wearing one beads
anklet in neck and having big hole in both the ears .He lived
in madhuraiHis works are celebrated for their poetic
expressions of anguish of being separated from God ,and the
joy of God ,experience with his estatic religious fervour
drawing comparison with those of western Saints.
12. This is the image of krishna which is situated in Delhi national
Museum of India in which Krishna is standing on a double Lotus
pedestal which has an oval shape. The right hand is in Kataka-
Mudra. The hair is tied into large fan shaped loop and braided locks
hang on the back.The costume consist of a short drawer secured by a
girdle the later with kirti mukha claps in front. It is a late chola
period of 12th- 13th century CE. Physical dimensions ; The height is
67.0 cm , width is 30.0 cm and the depth is 23.5 cm it is small in size
and made by bronze with clearity. By looking all the artefacts of
chola Empire we can say that they had great faith in God, the proof of
which is the sculptures made by them. The late chola used bronze
more for making sculptures.The art reached at a high stage of
development during this time.The sculptors work during this time
are famous for their elegance, sensitive modeling, and balanced
tension.Realism and attention to finer details reached its utmost
perfection during this time. The sculptures of gods and Goddesses in
the later Cholas show that even in the thirteenth century people
worshiped the Gods.
Krishna
13. KALI (BRONZE SCULPTURE) LATE CHOLA ,
12TH CENTURY CE SOUTH INDIA
This superbly detailed, solid-cast image of Kali (also known as
Chamunda) is in a form associated with South Indian Chola period
of c.850 to 1200.It has 75.4cm height , 305c width and 17.8cm
depth. The goddess sits in the posture of royal ease known as
LalitasanaThe face of the image here is particularly finely sculpted,
the features of which remain preserved mainly the lips are slightly
pursed, almond eyes with fine lids, and a prominent but fine nose.
The waist is fine and she wears ample jewellery and other
ornaments. The beautifully proportioned form is redolent of Chola-
era casting. The goddess has eight arms with attributes in each of
her remaining hands. Her range of weapons conveys her fierce
nature and her authority. Her upwardly flaming hair forms a
dramatic halo about her head. The headdress above the forehead is
adorned with a skull, and Shiva’s crescent moon has been cast to the
right of the headdress. In this regard, the image’s facial
characteristics and ornamented headdress follow a larger bronze of
KaliThe image also identifies the flaming hair which stands erect as
flames of a fire.On the left the head bears a crescent moon (aradha -
chandra), in the centre a skull flanked by two cobras and on the
right a coiled cobra.On her rear hands she holds a noose and a
goad(ankusha), her front hands are in abhaya and varada mudra.
14. NATARAJA
Nataraja, the Lord of Dance, represents the five essential acts of Siva-creation,
preservation, destruction, veiling, and grace. The dance he performs is called the
Ananda Tandava or the dance of bliss. Siva dances in triumph of defeating demons
or for the pleasure of his consort.The image of Nataraja is bedecked with three
eyes and four arms, the front left hand is depicted in danda- hasta or the Gaja-
hasta pose thrown on the right side, while the rear one, holds agni (fire) denoting
the power of destruction. His front right hand is in abhaya-mudra (symbolizing
protection) and the one at the back holds a damar (hand-drum), symbolizing
power of creation.
According to our personal observation of the natraja sculpture and various other
chola bronze sculptures, we noticed similar features such a sharp and pointed
facial attributes. The index finger of the right hand of the natraja sculpture has
been broken by the forces of time yet it stands as a hallmark of ancient indian
craftsmanship and religion.The symbolism of Siva Nataraja is religion, art and
science merged as one. In God's endless dance of creation, preservation,
destruction and paired graces is hidden a deep understanding of our universe.
15. Shiv tripurantaka
.This is an elegant example of two armesld bronze image of shiva
- tripurantaka which is shown standing firmly on his taut right
leg annd the left leg bent at the knee on a double lotus pedastal
.The arms are in the gesture of holding the bow. His hairs are
arranged in the high jata - mukuta . he wears a fillet , forming
loops on forehead , necklaces, skandhmala on right .It is
decorated with the chain of flowers on either side armlets ,
bracelets , yajnopavita , udarabandha and anklets.The lower
garments consists of short drawer, decorated with geometric and
floral design .It is finally modelled & well proportioned example
of early chola art where the artist could assimilate his heroic
deed and blissful posture in a single image. Tripurantaka form of
shiva is represented in various now riding a chariot of which
vedas were the horses, brahmas were the charioteer .. the theme
was very popular with the chola artists but waa known in time
of the pallavas also.
16. BUDHA
Vakataka Seven bronzes were found at Phophnar. All represent the
Buddha standing, with the right hand in the abhaya (protective) pose
and the left hand holding the hem of transparent sanghati. The head has
full curls of hair with topknot (protuberance). The earlobes are
elongated and the eyes are half open, suggesting serenity. Out of seven,
two have drapery of ubhayansika sanghati (garment covering both the
shoulders) and five have drapery of ekansika (covering left shoulder)
onlyThe size varies from 10.2-25.4 in. (26 to 64.5 centimeters). The best
piece is in the collection of the National Museum of New Delhi. The
Brahmi letters on its base resemble the inscriptions of Ajanta. The
standing Buddha in abhaya pose (27 in. [68.5 cm] high), now in the Asia
Society of New York, wears a Garment with schematic folds, following
the Mathura tradition. The other Buddha (19.5 in. [49.5 cm] high), in the
same collection, wears smooth drapery in the Sarnath fashion. The
figures of the Buddha from Nepal, now in the Norton Simon Foundation,
Pasadena, California, and the Cleveland Museum, have similar features.
The largest statue (7.4 ft. [225 cm] high), now in the collection of the
Birmingham Museum and Art Gallery, hails from Sultanganj, Bihar, and
belongs to the late Guptan or post-Guptan phase.
17. Conclusion
Based on our observation, chola bronze sculpture is the finest , elegant, Expressive and
exquisitely beautiful. A wide range of chola sculpture (especially Shiva), found from the Tamil
Nadu region, so on the basis of this, we Can say that chola sculpture would be prominent in
Tamil region (Tanjore). They focused on a whole idol but the Expressions on the faces of t
figures are very Explicit. On the basis of Jewellery , necklace and different type of metal, which
is used in sculpture, shows the prosperity and power of chola. Through the different sculpture
like Nataraja , we can say that chola were popular in its Art, Architecture, science, Culture,
technology etc. Through the sculpture and figure founded from Chola Empire , we can say that
they had the strength powerful at that time .They were used "lost wax" technique for Chola
Bronze sculpture, shows that they were advance in technology. Comparison to other foreign
sculpture, the shape contours, facial and hand Expression of these idols is quite finest. Many of
sculpture mainly was related to Hinduism , some of related to Buddhism also, but On the basis
of Hindu Idols we can say that Hinduism is prominent religion in Chola Empire.
