Sridevi Granulite South India, Eastern Chalukyan

Sridevi standing in subtle tribhanga with her left leg slightly bent at the knee, a lotus flower held in her raised left hand, with her right hand resting on the upper thigh, her hair drawn up in a conical jatamukuta richly ornamented with bands of jewels and a three leaf crown, the Goddess wearing lotiform earrings, beaded necklaces, jeweled armbands and heavy bracelets, with breasts restrained by a floral patterned kuchabandha, a jeweled girdle securing her tight-fitting dhoti, the cloth forming rippled folds over the legs and knotted at both hips, with flared sashes falling to the ankles.

Acquired Turin 1975

In good original condition with natural accretion throughout. Slight loss of the tied sash right side. No restoration.
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The triad of Sridevi and Bhudevi accompanying Lord Vishnu is a popular theme in south Indian sculpture. Sridevi is normally positioned to the left of Vishnu and is identified by her breastband and the lotus flower in her left hand. The restrained posture, broad and muscular proportions and lavish ornamental details indicate an Eastern Chalukyan origin for this sculpture.

The principality of the eastern Chalukyas with their seat at Vengi in the coastal region of modern-day Andhra, was established by Pulakesin II (608–644 C.E), widely considered to be the greatest ruler of the central Vatapi Chalukya line. During his lifetime the dominion was a Viceroyalty but after his death it flourished as an independent kingdom for almost four centuries before being absorbed into the Chola Empire of Tamilnadu.   

The rule of the eastern Chalukyas witnessed an efflorescence of culture, literature, poetry and art and it is considered to be a golden period in Andhra history. Throughout their rule Chalukyan rulers pursued an ambitious architectural program and built temples – both Shaiva and Vaishnava – at numerous sites, most notably Aihole, Pattadakal and Bikkavolu. Chalukyan sculptures are characterized by an earthy sensuality as witnessed in the present work.

The Goddess's upright stance, the multi-layered drapery of her long dhoti secured by a sash worn low on the hips and the perpendicular placement of her palm on her upper thigh is close to a sculpture of Parvati in a Chandrasekharamurti sculpture in situ at Golingesvara temple in Bikkavolu (S. Nagesvara Rao, The Temples of Bikkavolu, New Delhi, 2005, pl. 30). Her jeweled conical crown, pectoral necklace and alert, expressive features are similar to a seated Durga sculpture in the Virupaksa temple at Aihole (S. Rajasekhara, Early Chalukyan Art at Aihole, New Delhi, 1985, no. 53).

Large free-standing sculptures of this style and period are extremely rare and in fact few are seen in as complete condition even in situ.