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INDIAN
sculptors had mastered the bronze medium and the casting process as much as
they had mastered terracotta sculpture and carving in stone.
·
The cire-perdu or ‘lost-wax’ process for casting was learnt as long ago as the Indus Valley Culture.
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Along with it was discovered
the process of making alloy of metals by mixing
copper, zinc and tin which is called bronze.
·
Bronze sculptures and
statuettes of Buddhist, Hindu and Jain icons have been discovered from many
regions of India dating from the second century until the sixteenth century.
·
Most of these were required for ritual worship and are characterised by exquisite beauty and
aesthetic appeal.
·
At the same time the
metal-casting process continued to be utilised for making articles for various purposes
of daily use, such as utensils for cooking, eating, drinking, etc.
·
‘Present-day tribal communities also utilize the
‘lost-wax’ process for their art
expressions.
NORTH:
·
Perhaps the ‘Dancing Girl’ in tribhanga posture from Mohenjodaro is the earliest bronze sculpture datable to 2500
BCE.
·
A similar group of bronze statuettes
have been discovered on archaeological excavation at Daimabad (Maharashtra) datable to 1500 BCE.
·
Significant is the ‘Chariot’, the wheels of which are represented in simple circular shapes
while the driver or human rider has been elongated, and the bulls in the forefront
are modelled in sturdy forms.
·
Interesting images of Jain
Tirthankaras have been discovered from Chausa, Bihar, belonging to the Kushana Period
during second century CE.
·
Many standing Buddha images with right hand in abhaya mudra were cast in North India, particularly UttarPradesh and Bihar,
during the Gupta and Post-Gupta periods, i.e., between the fifth, sixth and
seventh centuries.
·
The sanghati or the monk’s robe is
wrapped to cover the shoulders which turns over the right arm, while the other end
of the drapery is wrapped over the left arm.
·
The figure appears youthful
and proportionate in comparison with the Kushana style.
·
In the typical bronze from Dhanesar Khera, Uttar Pradesh, the folds of the drapery are treated as in the Mathura style, i.e., in a series of drooping down curves.
·
Sarnath-style bronzes have foldless
drapery. The outstanding example is that of the Buddha image at Sultanganj,
Bihar, which is quite a monumental bronze figure.
·
The typical refined style of these
bronzes is the hallmark of the classical quality.
·
Himachal Pradesh and Kashmir
regions also produced bronze
images of Buddhist deities as well as Hindu
gods and goddesses. Most of these were created
during the eighth, ninth and tenth centuries and have a very distinct style in comparison
with bronzes from other parts of India.
·
A noteworthy development is
the growth of different types of iconography of Vishnu images.
·
Four-headed Vishnu, also
known as Chaturanana or Vaikuntha Vishnu, was
worshipped in these regions.
·
While the central face
represents Vasudeva, the other two
faces are that of Narasimha
and Varaha.
·
The Narasimha avatar and Mahishasuramardini Durga images of Himachal Pradesh are
among the very dynamic bronzes from that region.
·
In Buddhist centres like Nalanda, a school of bronze-casting emerged around the ninth century during
the rule of the Pala Dynasty in Bihar and Bengal regions.
·
In the gap of a few centuries
the sculptors at Kurkihar near Nalanda were able to revive the classical style
of the Gupta period.
·
A remarkable bronze is of a four-armed Avalokitesvara, which is a good example of a male figure in
graceful tribhanga posture.
·
Worship of female goddesses was
adopted which is part of the growth of the Vajrayana phase in Buddhism.
·
Images of Tara became very popular. Seated on a throne, she is accompanied by a
growing curvilinear lotus stalk and her right hand is in the abhaya mudra.
SOUTH:
·
Vakataka bronze images of the
Buddha from Phophnar, Maharashtra, are
contemporary with the Gupta period bronzes.
·
They show the influence of
the Amaravati style of Andhra
Pradesh in the third century CE and
at the same time there is a significant change in the draping style of the
monk’s robe.
·
The additional importance of
the Gupta and Vakataka bronzes is that they were portable and monks carried
them from place to place for the purpose of individual worship or to be
installed in Buddhist viharas.
·
In this manner the refined
classical style spread to different parts of India
and to Asian countries
overseas.
·
The hoard of bronzes discovered in Akota near Vadodara established that bronze casting
was practised in Gujarat or western India between the sixth and ninth centuries.
·
Most of the images represent the
Jaina tirthankaras like Mahavira, Parshvanath or Adinath.
·
A new format was invented in
which tirthankaras are seated on a throne; they can be single or
combined in a group of three or in a group of twenty-four tirthankaras.
·
Female images were also cast
representing yakshinis orShasanadevis of some prominent tirthankaras.
·
The bronze casting technique
and making of bronze images of traditional icons reached a high stage of development
in South India during the medieval period.
·
Although bronze images were
modelled and cast during the Pallava Period in the eighth and ninth centuries,
some of the most beautiful and exquisite statues were produced during the Chola
Period in Tamil Nadu from the
tenth to the twelfth century.
·
The technique and art of
fashioning bronze images is still skillfully practised in South India, particularly
in Kumbakonam.
·
The distinguished patron during
the tenth century was the widowed
Chola queen, Sembiyan Maha Devi.
·
Chola bronzes are the most
sought after collectors’ items by art lovers all over the world.
·
Among the Pallava Period bronzes of the eighth century is
the icon of Shiva seated in ardhaparyanka
asana (one leg kept dangling).
·
The right hand is in the achamana mudra gesture, suggesting that he is about to drink
poison.
·
A wide range of Shiva iconography was evolved in the
Thanjavur (Tanjore) region of
Tamil Nadu.
·
The ninth century kalyanasundara murti is highly remarkable for the manner in which Panigrahana (ceremony of marriage) is represented by two
separate statuettes.
·
Shiva with his extended right
hand accepts Parvati’s (the bride’s) right hand, who is depicted with a bashful
expression and taking a step forward.
·
The union of Shiva and
Parvati is very ingeniously represented in the ardhanarisvara murti in a single image.
·
During the sixteenth century,
known as the Vijayanagar Period in Andhra Pradesh, the sculptors experimented
with portrait sculpture in order to preserve knowledge of the royal
patron for posterity.
·
At Tirupati, life-size standing portrait statues were cast in bronze, depicting Krishnadevaraya
with his two queens, Tirumalamba and Chinnadevi.
The Lost-wax Process :
The lost-wax process is a technique used for making objects of
metal, especially in Himachal Pradesh, Odisha, Bihar, Madhya
Pradesh and West Bengal.
In each region, a slightly different technique is used.
Steps:
·
First a wax model of the
image is made by hand of pure beeswax that has first been melted over an open fire, and
then strained through
a fine cloth into a basin of
cold water.
·
Here it resolidifies immediately.
It is then pressed through a pichki or pharni which squeezes the wax into noodle-like shape.
·
These wax wires are then
wound around to the shape of the entire image.
·
The image is now covered with
a thick coating of paste, made
of equal parts of clay, sand
and cow-dung.
·
Into an opening on one side,
a clay pot is fixed. In this molten metal is poured.
·
The weight of the metal to be
used is ten times that of wax. (The wax
is weighed before starting
the entire process.) This metal is largely scrap metal from broken pots and
pans.
·
While the molten metal is
poured in the clay pot, the clay-plastered
model is exposed to firing.
·
As the wax inside melts, the
metal flows down the channel and takes on the shape of the wax image.
·
The image is later chiselled with files to smoothen it and give it a finish.
·
Casting a bronze image is a
painstaking task and demands
a high degree of skill.
·
Sometimes an alloy of five
metals — gold, silver, copper, brass and lead — is used to cast bronze images.
Nataraja:
·
Shiva is associated with the
end of the cosmic world with which this dancing
position is associated.
·
In this Chola period bronze
sculpture he has been shown balancing himself on his right leg and suppressing
the apasmara, the demon of ignorance or forgetfulness, with the
foot of the same leg.
·
At the same time he raises
his left leg in bhujangatrasita stance, which
·
represents tirobhava, that is kicking away the veil of maya or illusion from the devotee’s mind.
·
His four arms are
outstretched and the main right hand is posed in abhaya hasta or the gesture suggesting.
·
The upper right holds the damaru his favourite musical instrument to
keep on the beat tala.
·
The upper left hand carries a
flame while the main left hand is held
in dola hasta and connects with the abhaya hasta of the right hand.
·
His hair locks fly on both the sides touching the circular jvala mala
or the garland of flames
which surrounds the entire dancing figuration.
nice presentation....
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ReplyDeleteYou show jain tirthankar image for represent buddha, correct your mistake.
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