Test: Indian Bronze Sculpture- 2 - Humanities/Arts MCQ

Images of Tara became very popular during the medieval period in South India.

The lost-wax process is a metal-making technique used for casting bronze images in several regions of India.

These regions produced bronze images of Buddhist and Hindu deities from the 8th to the 10th centuries.

A noteworthy development is the growth of different types of iconography of Vishnu images in these regions.

In Buddhist centers like Nalanda, a school of bronze-casting emerged around the 9th century during the rule of the Pala Dynasty in Bihar and Bengal regions.

The distinguished patron during the 10th century was the widowed Chola queen, Sembiyan Maha Devi.

Shiva is associated with the end of the cosmic world with which this dancing position is associated.

The bhujangatrasita stance represents tirobhava, that is kicking away the veil of maya or illusion from the devotee’s mind.

The abhaya hasta gesture is a mudra (hand gesture) commonly seen in Indian iconography, which represents fearlessness or protection. In the context of the Nataraja sculpture, the abhaya hasta gesture is depicted on the right hand of Lord Shiva, which is raised in a gesture of protection and assurance towards his devotees.

The Vakataka bronze images of the Buddha from Phophnar, Maharashtra, are contemporary with the Gupta period bronzes and show the influence of the Amaravati style of the same time. However, there is a significant change in the draping style of the monk’s robe. The Buddha's right hand in abhaya mudra is free so that the drapery clings to the right side of the body contour, resulting in a continuous flowing line on this side of the figure. This style of drapery is a departure from the Amaravati style and represents a new development in Buddhist art. The left hand of the Buddha is holding the drapery at the ankle level, creating a curvilinear turn in the drapery that is conspicuous. Therefore, the correct option is A) It shows the influence of the Amaravati style.