Chapter Notes: Indian Bronze Sculpture

Introduction

Indian sculptors were highly skilled in making bronze statues, just as they were in creating terracotta and stone carvings. They learned the cire-perdu or "lost-wax" method of casting metals as early as the Indus Valley Civilization. During that time, they also discovered how to make bronze by mixing copper, zinc, and tin.

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Bronze Sculptures and Statuettes

• Bronze statues of Buddhist, Hindu, and Jain gods have been found in many parts of India.
• These sculptures were made between the 2nd century and the 16th century.
• Most of them were used in temples for worship.
• They are known for their fine beauty and artistic design.
• The metal-casting method was also used to make everyday items like cooking pots, plates, and cups.
• Even today, some tribal artists still use the lost-wax method to make their metal artworks.

Early Bronze Sculptures

• "Dancing Girl" from Mohenjodaro considered earliest bronze sculpture dating back to 2500 BCE.
• Limbs and torso of female figurine simplified in tubular form.
• Similar group of bronze statuettes discovered from Daimabad (Maharashtra) dating back to 1500 BCE.
• Significant "Chariot" sculpture with simple circular wheels, elongated human rider and sturdy bulls in forefront.

Jain Bronzes

• Gujarat and Rajasthan have been important centers of Jainism since ancient times.
• A large collection of Jain bronze statues was found at Akota near Baroda (Vadodara).
• These bronzes were made between the 5th and 7th centuries CE.
• They were created using the lost-wax method and decorated with silver and copper to highlight eyes, crowns, and clothing details.
• Famous Jain bronzes found at Chausa in Bihar are now kept in the Patna Museum.
• Other Jain bronzes from Hansi (Haryana) and different places in Tamil Nadu and Karnataka are also preserved in various Indian museums.

Bronze Casting in Western India

• A collection of bronze statues found at Akota near Vadodara shows that bronze casting was practiced in Gujarat and western India between the 6th and 9th centuries CE.
• Most statues show Jain tirthankaras such as Mahavira, Parshvanath, and Adinath.
• A new style was created where tirthankaras sit on a throne, either alone, in groups of three, or in groups of twenty-four.
• Female figures were also made, showing yakshinis or Shasanadevis (goddess attendants) of important tirthankaras.
• The style of these bronzes was influenced by the Gupta and Vakataka art traditions.
• Chakreshvari is the Shasanadevi of Adinath, and Ambika is the Shasanadevi of Neminath.

Standing Buddha Images

• Many standing Buddha statues were made in North India, especially in Uttar Pradesh and Bihar, during the Gupta and Post-Gupta periods (5th-7th centuries CE).
• The Buddha is shown with his right hand in Abhaya Mudra (a gesture of blessing and protection).
• His monk's robe (sanghati) covers both shoulders - it turns over the right arm and also wraps around the left arm.
• The cloth's pleats are held by the extended hand, and the drapery curves widely near the ankles.
• The statue is made with fine detailing, showing the soft and thin fabric and a graceful, youthful body.
• Compared to the Kushana style, the figure looks more balanced and elegant.
• In Dhanesar Khera (Uttar Pradesh) bronzes, the robe folds curve downward like in the Mathura style.
• In Sarnath-style bronzes, the robe has no folds (appears smooth).
• The Sultanganj Buddha in Bihar is a famous and large bronze statue from this period.
• These bronzes are known for their refined and classical artistic quality.

Vakataka Bronze Images of Buddha

• Bronze Buddha statues found at Phophnar, Maharashtra belong to the Vakataka period, which existed around the same time as the Gupta period.
• These statues show the influence of the Amaravati art style from Andhra Pradesh (3rd century CE).
• The monk's robe style changed noticeably in these bronzes.
• The right hand of the Buddha is in Abhaya Mudra (gesture of blessing) and is free from the robe, making the cloth cling closely to the right side of the body.
• This creates a smooth, flowing line on the right side of the statue.
• Near the ankles, the robe forms a curved fold, held by the left hand of the Buddha.
• The Gupta and Vakataka bronze statues were small and portable.
• Monks carried them while traveling for personal worship or to place them in Buddhist monasteries (viharas).
• This helped the refined classical art style to spread across India and even to other Asian countries.

The Lost-Wax Process

• The lost-wax process is a method used to make metal objects and statues.
• It is commonly practiced in Himachal Pradesh, Odisha, Bihar, Madhya Pradesh, and West Bengal, with small regional differences in the method.
• The process starts by making a wax model of the image using pure beeswax.
• The wax is melted, strained, and cooled in water to harden again.
• It is then pressed into thin strands (like noodles) using a tool called pichki or pharni, and shaped into the desired figure.
• The wax model is covered with a thick paste made of clay, sand, and cow dung.
• A clay pot is attached on one side to pour molten metal into the mold.
• The metal used (about ten times the weight of the wax) is usually scrap metal from broken utensils.
• When heated, the wax melts and drains out, and the metal fills the empty space, taking the shape of the original wax model.
• The entire process is treated like a sacred ritual, done silently and carefully.
• After cooling, the image is filed and polished to make it smooth and shiny.
• This method requires great skill and patience.
• Sometimes, a special five-metal alloy (gold, silver, copper, brass, and lead) is used to create the bronze image.

Himachal Pradesh, Kashmir, and West Bengal Regions

• The regions of Himachal Pradesh and Kashmir made many bronze statues of Buddhist deities and Hindu gods and goddesses.
• Most of these bronzes were created during the 8th to 10th centuries CE.
• These statues have a unique style that looks different from bronzes made in other parts of India.
• A major development was the creation of new forms of Lord Vishnu's images.
• One special type is the four-headed Vishnu, called Chaturanana or Vaikuntha Vishnu.
• In this image, the middle face represents Vasudeva, and the side faces show Narasimha (lion form) and Varaha (boar form).
• Statues of Narasimha and Mahishasuramardini Durga from Himachal Pradesh are known for their powerful and energetic style.

Buddhist Centers

• Around the 9th century CE, during the Pala Dynasty, a bronze-casting school developed in Nalanda (Bihar and Bengal regions).
• Sculptors at Kurkihar near Nalanda revived the classical Gupta art style after several centuries.
• A famous example from this period is the four-armed Avalokitesvara statue, showing a graceful male figure in tribhanga posture (a three-bend pose).
• During this time, worship of female deities became common as part of the Vajrayana phase of Buddhism.
• Images of Goddess Tara became especially popular.
• Tara is usually shown sitting on a throne, with a curved lotus stem beside her, and her right hand in Abhaya Mudra (gesture of protection).

South India

• The bronze casting art reached a very advanced level in South India during the medieval period.
• Bronze statues were made during the Pallava period (8th-9th centuries CE), but the most beautiful bronzes were created in the Chola period (10th-12th centuries CE) in Tamil Nadu.
• The art of making bronze idols is still practiced today, especially in Kumbakonam.
• Queen Sembiyan Maha Devi, a Chola queen, was a great supporter of bronze art in the 10th century.
• Chola bronzes are world-famous and loved by art collectors everywhere.

Pallava Period (8th century CE)

• A famous bronze shows Shiva seated in ardhaparyanka asana (one leg hanging down).
• His right hand is in achamana mudra, as if he is about to drink poison.

Chola Period (10th-12th centuries CE)

• The famous Nataraja (dancing Shiva) image was developed and perfected during this time.
• Many variations of the Nataraja image were later created.
• In the Thanjavur (Tanjore) region, artists made many forms of Shiva statues.
• The Kalyanasundara Murti (wedding scene of Shiva and Parvati) shows Shiva holding Parvati's hand with Parvati shown shyly stepping forward.
• The Ardhanarishvara image combines Shiva and Parvati into a single figure representing divine unity.
• Separate statues of Parvati were also made, often shown standing in the graceful tribhanga posture.

Vijayanagar Period (16th century CE)

• Artists began making portrait statues to remember royal figures.
• At Tirupati, life-size bronze statues of King Krishnadevaraya and his two queens, Tirumalamba and Chinnadevi, were created.
• These statues show realistic faces combined with an idealized, graceful body form.
• The king and queens are shown standing in namaskara mudra (hands folded in prayer).

Nataraja

• Shiva is associated with the end of the cosmic world with which this dancing position is associated.
• In this Chola period bronze sculpture, Shiva 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 favorite 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 sides touching the circular jvala mala or the garland of flames that surrounds the entire dancing figuration.

Conclusion

The art of bronze casting in India shows the country's long tradition of skill, creativity, and devotion. From the early Jain bronzes of Akota and the elegant Gupta and Vakataka images to the rich Pala, Chola, and Vijayanagar bronzes, each region developed its own unique style. These statues were not only works of art but also symbols of deep faith and spirituality. The lost-wax method, perfected over centuries, reflects the mastery of Indian craftsmen. Even today, especially in South India, this ancient art continues to thrive, keeping alive India's glorious heritage of metal sculpture.