Objects of W

orshipJain, G

andhara & H

indu sculptureJoost van den Bergh

OBJECTS OF WORSHIPJain, Gandhara & Hindu sculpture

Joost van den Bergh

Published in 2017 by Joost van den Bergh Ltd

Joost van den Bergh Ltd 24 Georgian House10 Bury Street St JamesLondonSW1Y 6AAUnited Kingdom

+44 207 839 8200joostvandenbergh.com

Images & text © Joost van den Bergh. All rights reserved

For the book in this form © Joost van den Bergh Designed by Zoë BatherEdited by Angela KooPhotography by Matt PiaPrinting and repro in London by Push

All rights reserved.No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any other information storage or retrieval system, without prior permission in writing from the publisher.

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1.Naga Raksha (cobra demon) mask Sri Lanka, 19th centuryHeight: 35 cm (13¾ in)Width: 49 cm (19¼ in)

Raksha masks are apotropaic – intended to ward off evil. They are painted in vibrant colours, with bulging eyes and protruding tongues, and depict various types of demons (raksha meaning ‘demon’). Raksha masks form part of the Raksha Kolama dance ritual; they are a tribute to the Rakshasas, a mythical race said to have once ruled Sri Lanka. Rakshasas were able to assume 24 different forms, but only a few of these are enacted in performance, including the Naga Raksha, Gurulu Raksha (bird demon) and the Maru Raksha (demon of death).

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2.Seated JinaPolished black stoneGujarat or Rajasthan, India, AD 1182 (Samvat 1239)Height: 64 cm (25¼ in)Width: 50 cm (19¾ in)

A Jina, or Tirthankara, is a pure, liberated being who has renounced passion and anger, and can therefore guide others in their quest for a life of non-violence and respect for all living things. The Sanskrit inscription featured on this sculpture’s cushion names its patron and the date of its dedication to the Jain temple:

SuprabhanãthaCaused to be made by Nemicadra, pupil of Sãntibhadra, on the 10th day of the bright fortnight of the month Mãrgg (asiras). Samvat 1239

Comparable seated Jinas are held in the collections of the Art Gallery of South Australia, and the Minneapolis Institute of Art.

Provenance: Christie’s, London; private collection, London

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3.Standing bronze BuddhaLopburi, Thailand, c. 12th centuryHeight: 35 cm (13¾ in)Width: 49 cm (19¼ in)Provenance: private collection, UK

This unusually large Buddha, dating to the time of the Khmer Empire, assumes the sambhogakaya stance adopted by the Buddha when he achieved the status of a king; he is thus suitably adorned with a crown and jewels. The formal posture emphasises the figure’s iconic nature, accentuating its frontal aspect and

symmetry, with no hint of movement. The downward gaze and broad, straight mouth form an expression of serenity, while the earlobes – stretched by heavy earrings – represent renunciation of the princely life. The notion of the Buddha as a king is often encountered in Khmer epigraphy. The iconography of the jewelled and crowned

Buddha, as opposed to more orthodox representations in monastic garments and hair arranged in curls, originated in the 9th and 10th centuries in the area around Nalanda, a centre of Mahayana Buddhism in eastern India.

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4.Seated MaitreyaGandhara, Pakistan, 2nd–3rd centurySchistHeight: 55.5 cm (21¾ in)Provenance: private collection, Japan

This figure is from the ancient Gandhara region (present-day Afghanistan–Pakistan). Between the first and third centuries, Buddhist sites here developed a more definable architectural style. It was during this period that the majority of the schist Gandharan sculpture was produced. Pious Gandharans commissioned carved

panels to embellish stupas and the buildings surrounding them, and the majority of these illustrate the life of the Buddha. According to Buddhist scriptures, the bodhisattva Maitreya will be the successor to the Buddha, appearing on Earth in the future, at a time when the pure teachings of Buddhism (dharma) have been forgotten.

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5.Bronze seated Manjushri Northeast India, Pala period, 13th centuryHeight: 11.5 cm (4½ in)Width: 8 cm (3⅛ in)Provenance: Christie’s, New York; private collection, London

Manjushri is a prominent deity in the Buddhist pantheon, usually identified as the Bodhisattva of Transcendent Wisdom. This wisdom is contained within the sacred text that lies on the lotus base before him, while his sword symbolises the defeat of darkness and ignorance. Together with Avalokiteshvara (or Padmapani), the deity who represents compassion, Manjushri embodies the essence of enlightenment.

6.Bronze seated PadmapaniEast India, Pala period, 12th centuryHeight: 8 cm (3⅛ in) Width: 5.5 cm (2⅛ in)Provenance: private collection, London

Padmapani is believed to have created the fourth world (our present universe) and all animate things. His mantra is Om mani padme hum (‘The lotus is the jewel of creation’). Here he is identified by the lotus (padma) in his left hand, and the small figure of the Buddha Amitabha atop his head. His right hand is outstretched in the gesture of generosity, and the lotus flower beside his left shoulder symbolises the power of creation.

Pala means ‘protector’ in Sanskrit and is the name of a dynasty that flourished in eastern India from the 8th to the 12th century, ruling over the present-day Indian states of Bihar and West Bengal, as well as Bangladesh. These areas were among the last strongholds of Buddhism in India, and pilgrims, monks and students from all over Asia flocked to their numerous monasteries and holy sites connected with the life of Shakyamuni Buddha. When they returned home these travellers brought Pala-period Buddhism and art with them in the form of manuscripts, small sculptures, drawings and other portable imagery. Consequently the Pala style particularly influenced the art of Burma, Nepal, Tibet, Shrivijaya and Java.

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7.Stone head of BuddhaLopburi, Thailand, c. 12th centuryHeight: 33 cm (13 in)Width: 19 cm (7½ in)Provenance: private collection, London

The region of Lopburi in northeastern Thailand, bordering on Cambodia, was under Khmer domination from the 11th to 13th century. Its name is therefore generally used to designate Khmer-inspired art of Thailand, such as this large stone head.

8.Bronze GaneshaOdisha (Orissa), India, 17th centuryHeight: 15 cm (6 in)Width: 10.5 cm (4⅛ in)Provenance: private collection, Italy; private collection, London

Images of the elephant-headed Hindu god Ganesha, son of Parvati and Shiva, are found throughout India, Thailand and Sri Lanka, and he is revered by Jains and Buddhists as well as Hindus. Ganesha is the god of success and wisdom, the remover of obstacles, and patron of the arts and sciences.

This bronze sculpture is stylistically unique, characterised both by plump features and strong abstraction, and reminiscent of a folkloristic image. The Eastern Ganga dynasty ruled in Orissa from 980 and was contemporary with the late Pala and Chola dynasties. However, only the Ganga survived Muslim incursions, continuing to rule until the 16th century. As a result, sculpture in stone and bronze continued to be produced in the region.

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9.Reclining NandiCopper alloy with remnants of pujaKarnataka, India, 15th–16th centuryHeight: 14 cm (5½ in)Width: 17 cm (6⅝ in)

10.Terracotta bust of a womanIndia, Gupta period, c. 5th centuryHeight: 27 cm (10⅝ in)Width: 19 cm (7½ in)

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12.Jina ParshvanathaBronze alloy inlaid with silverKarnataka, India, AD 1606 (Samvat 1662)Height: 12.5 cm (5 in)Width: 8 cm (3⅛ in)

11.Standing VishnuIndia, Pala period, c. 12th centuryHeight: 21 cm (8¼ in)Width: 11 cm (4⅜ in)Provenance: private collection, London

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13.Stucco head of Shakyamuni BuddhaGandhara, Pakistan, c. 4th centuryHeight: 18 cm (7 in)Width: 11 cm (4⅜ in)

The sensitive modelling of this head is distinguished by great attention to detail – a result achieved by working in stucco, which can provide a more expressive quality than more formal, somewhat harder images worked in stone.

Stucco modelling was widely used throughout the Roman Empire as a cheap alternative to marble, and as trade relations with the East intensified, the technique spread to Iran and India. Modelled heads were constructed on a rough core of lime plaster mixed with straw and small stones, which was then covered with an outer layer of finer stucco for the modelling of the features and hair.

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15.Bronze ShivaIndonesia, probably Java, 18th–19th century Height: 21 cm (8¼ in)Width: 8.5 cm (3⅜ in)Provenance: private collection, UK

Although dating back to the 18th or 19th century, this bronze figure was modelled in the style of the 9th century.

14.Terracotta head of a womanTrowulun, East Java, Majapahit period, 14th centuryHeight: 14 cm (5½in)Width: 9.5 cm (3¾ in)Provenance: private collection, UK

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16.Harihara stone steleNepal, 16th–17th centuryHeight: 37.5 cm (14¾ in)Width: 21.5 cm (8½ in)Provenance: private collection, Belgium

Harihara is a Hindu deity, created from the fusion of the gods Vishnu (Hari) and Shiva (Hara). Also known as Shankaranarayana (Shankara being another name for Shiva, and Narayana referring to Vishnu), Harihara united the followers of both gods. Harihara is also a term used to describe the concept of the ‘oneness of all existence’ in Hindu philosophy. The right half of Harihara represents Shiva, and the left half represents Vishnu.

17.Vaikuntha-KamalajaNepal, 16th centuryHeight: 10.5 cm (4⅛ in)Width: 6.5 cm (2½ in)

Vaikuntha-Kamalaja is an eight-armed androgynous deity, combining Vishnu (on the right) and his consort Lakshmi (left). The right side holds Vishnu’s emblems – a wheel (chakra), conch, mace and lotus; the corresponding left holds those relating to Lakshmi – pot, mirror, lotus and book. Vaikuntha-Kamalaja stands in the samapada posture on a lotus pitha, or throne.

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18.Eight-armed Ganesha and consortBengal, c. 17th centuryCopper with inlaid stoneHeight: 6.5 cm (2½ in)Width: 4.5 cm (1¾ in)

19.RadhaBengal, 19th centurySilver with inlaid ruby eyesHeight: 10 cm (4 in)Width: 4 cm (1⅝ in)

20.Jain shrineCopper alloy with silver inlay West India, AD 1474 (Samvat 1531)Height: 22 cm (8⅝ in)Width: 15.5 cm (6⅛ in)

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21.Bronze Balakrishna South India, 18th century Height: 9 cm (3½ in)Width: 7 cm (2¾ in)

22.Krishna VenugopalaOdisha (Orissa), India, 16th–17th centuryHeight: 18 cm (7 in)Width: 8.5 cm (3⅜ in)

23.Gaja-Lakshmi Odisha (Orissa), India, 17th–18th century Height: 18.5 cm (7¼ in)Width: 10.5 cm (4⅛ in)Provenance: private collection, London

Gaja-Lakshmi is seated in the padmasana position on a round pedestal, which in turn is supported by an upturned lotus. She has four arms. In each of her upper arms she carries a lotus, which symbolises beauty, purity and fertility. Her lower left hand makes the gesture of reassurance and safety (abhayamudra), while her lower right hand makes the gesture of charity. The elephants ( gaja) flanking her are shown holding upturned pots, pouring sacred water over the goddess. Like most other aspects of Lakshmi, this represents prosperity, good fortune and abundance.

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24.Stone four-armed LokeshvaraNepal, 17th–18th centuryHeight: 17 cm (6¾ in)Width: 12 cm (4¾ in)Provenance: private collection, Japan

The bodhisattva Avalokiteshvara is generally known as Lokeshvara (Lord of the World) in Nepal. The Buddha of the Western Paradise is usually depicted seated in Avalokiteshvara’s headdress.

25.Seated four-armed GaneshaSouth India, 14th–15th centuryHeight: 7.5 cm (3 in)Width: 5 cm (2 in)

26.GaneshaDeccan, probably Maharashtra, India, 19th centuryHeight: 13 cm (5⅛ in)Width: 7.5 cm (3 in)

27.Seated Shakyamuni Buddha Sri Lanka, Kandy period, 18th centuryHeight 7.5 cm (3 in)Width: 5.5 cm (2¼ in)Provenance: private collection, London

28.Shantinath shrineWest India, AD 1554 (Samvat 1511)Brass, inlaid with silver Height: 28 cm (11 in)Width: 19 cm (7½ in)Provenance: private collection, UK

Shantinath is the sixteenth Jina (saviour-teacher) and is especially revered in the Jain pantheon. He is said to have revived Jainism at a time when it was in danger of extinction, ensuring the faith’s survival. Over time Jains came to invoke him to avert calamities and ensure the peace his name suggests (shanti meaning ‘peace’; natha meaning ‘lord’). Here the naked meditating Jina is seated in the padmasana position on a jewelled cushion, surrounded by 23 Jinas.

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29.BotiPossibly Bengal, 19th centuryHeight: 26.5 cm (10 in)Width: 38 cm (15 in)

A boti (or pirdai) is a traditional Bengali cutting instrument, used to prepare fruit, vegetables and fish. Its platform is held secure on the floor using the feet, leaving both hands free to hold items as they are sliced by the long, curved blade.

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31.Parshvanatha shrineWest India,AD 1470 (Samvat 1568)Brass, inlaid with silver10.5 cm (4⅛ in)Provenance: private collection, UK

30.DurgaEastern Deccan, India, 18th–19th centuryHeight: 8.5 cm (3⅜ in)

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34.Belt hook with head of GarudaIndonesia, 18th–19th centuryLength: 7 cm (2¾ in)Provenance: Henry Brownrigg, London

32.Brass seated JinaWest India, AD 1632 (Samvat 1689)Height: 10 cm (4 in)

33.Brass seated MinusvrataWest India, 17th–18th centuryHeight: 8 cm (3⅛ in)

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35.Royal portersSri Lanka, c. 1900Brass and metalHeight: 12 cm (4¾ in)

36.Four-armed GaneshaOdisha (Orissa), India, 13th–14th centuryBrass alloyHeight: 7 cm (2¾ in)

37.Bronze crawling BalakrishnaTamil Nadu or southern Karnataka, India, 19th century Height: 8.5 cm (3⅜ in)

38.Krishna Venugopala Bengal, India, 18th–19th centuryBronze with inlaid eyesHeight: 16 cm (6¼ in)

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