A COPPER ALLOY FIGURE OF SHIVA BHIKSHATANA South India, Tanjore, Nayak Dynasty, 17th century

The Stalling Collection, Dreieichenhain, Germany, since 1970.
The Chinese Porcelain Company, New York, 1999.
Private Collection, since 1999.

Good and stable overall condition. Rich brown patination overall with areas of accretion and oxidation throughout, consistent with age. Scattered nicks and surface wear throughout. Scattered areas of minor losses and minor but stable surface cracking along outer edge of lotus pedestal. Slight upwards bending to two front corners of base, as visible in catalogue illustration. Small hole in middle of back as seen in catalogue illustration. Missing the antelope and gana attributes as evidenced by the two indentations on base of bronze with remains of lead solder in the securing channel for the missing antelope. The hood of the naga encircling the hips is missing. No visible restorations to the bronze.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present sculpture depicting Shiva’s manifestation as Bhikshatana, “the enchanting mendicant,” embodies the inspired modeling, sinuous elegance and spontaneous charm of late south Indian bronze casting.  One senses the presence of the master bronze sculptor in the subtlety of naturalistic musculature sensitively portrayed in the gentle curves and the treatment of the smoothly modeled planes of the body. Embellishments such as the trishula and the bull horns on the base, the makara earring worn by the Lord in his right ear, the arch of his bejeweled foot and the kirttimukha in his hair are evidence of the creativity and inventiveness of the artist. Chased with extraordinary finesse, the detailing of the sculpture surpasses that of most sculptures of the period.

Represented as the wandering mendicant in mid-stride, this sculpture’s iconography relates to the punishment of Shiva who according to the Lingodbhava myth decapitated the god Brahma for refusing to admit Shiva’s supremacy. Shiva was cursed to wander the countryside as a naked beggar and accordingly is clad only in wooden sandals and a beggar’s bowl, is said to represent the head of Brahma. Wherever Shiva wandered as a beggar, women who gave him alms fell in love with the inexplicable radiance of his form. Artists and poets stressed the manner in which the garments slipped off the maidens’ bodies as they were overcome with desire for the beautiful Lord:

Listen my friend, / yesterday/ in broad daylight / I’m sure I saw / a holy one, / as he gazed at me / my garments slipped / I stood entranced / I brought him alms / but nowhere did I see / the Cunning One / If I see him again / I shall press my body / against his body / never let him go / that wanderer / who lives in Ottiyur.[1]

Executed soon after the golden age of the Vijayanagara Empire, the present piece retains the best of this culture’s sculptural achievements which persisted into the Nayak period. With its buoyant, sensual and almost whimsical modeling, the image captures in the essence the mysterious splendor of the handsome Lord of the forests.

 

 

[1] Vidya Dehejia. Art of the Imperial Cholas. New York: Columbia University Press, 1990. Pp. 110-111.