Indian sculptors from earliest times have shown vividly the excellent workmanship in creating iconic images. The first instance may be the Indus bronze image of the Dancing Girl or the Chola Nataraja of historical times; they are iconic expression par excellence with technical perfection displayed, what arts and science can work for man. The bronze imagery in India possessed with inner spirit evolved through bringing together the sacred and material world. They became integral to the conceptualisation of an enlivened image. Bronze icons seized to exist to be an ordinary image once it was consecrated. In the process of consecration, the metal image transforms into a sacred image thus substantiating the living presence of God. Western scholars were fascinated to understand the iconometry and iconography, the vigrahashastra and also the science of metallurgy in creating the bronze icons. Way back in last quarter of 20th century, a conference was specifically organized on the art and science of Indian bronzes. After long deliberations it was realised that there is a difference between western practices and ancient Indian practices in making and mixing of the properties to create bronze. Many Indian scholars felt it was suitable to use the term metal sculpture than to call them bronze. But these metal icons had already earned a great name as Indian bronzes.
Indian metal images form prized collections across museums in the world. It is usually thought, Pallava and Chola bronzes are considered the best. But there are very good pieces of Buddhist images of much earlier like the Vakataka-Gupta era of 4th – 5th century CE. Three Buddha bronze images in NM collection are finest from the famous Phophnar hoard of Gupata-Vakataka in Madhya Pradesh. There are enough evidences to show bronze images of Buddha belonging to Nalanda and Bodh Gaya. During the time of Harshavardhana in 7th century life size metal images of Buddha including that of gold was taken in procession during the great Mahayana Congregation.
In most of the collections, bronze figurines belonging to Pallava, Chola and Vijayanagar periods of Shaiva , Vaishnava , Shakta and Jaina traditions are significant. They are unique because of the application of scientific knowledge and aesthetic sensibilities. They cast a spell in terms of visual and aesthetic impact, devoutly visualized and spiritually experienced. They were customized as the processional images, since the moolamurti or principal deity, was mostly consecrated and made of stone, not supposed to be displaced from its position, the metal icons replaced them as utsavamoorti and taken out in procession or in ratha festivities, creating a spectacular vision.
While observing the sophistication in imagery, it is evident that what the Chola artisans could not achieve in stone, they were able to accomplish in bronze imagery. The subtle flow of line on the divine images lends an extraordinary grace to the Chola bronzes. The Chola sculptor has exhibited ample creativity in giving a free rein to his innovative and sublime method of expressing divine images by using right kind of symbols and motifs in designing jewellery adorning the metal images. The coiled serpent symbolises time which has neither a beginning nor an end. Keertimukha is another such symbol hailed as the face of glory, the Sirachakra piece of ornament represents the prakrti or the concept of space so also the Padma . All such natural forms have deeply integrated into the creative process of the sculptor while embellishing his bronzes. He is more than successful in transforming them into divine and delightful expression. Scientific process is followed in casting the images. Small images cast in solid while larger ones cast in hollow, the process is known as Madhuchistavidhana in agamas, as lost wax method. The image is first modeled in beeswax in all details, then coating of fine damp clay pressed tight around the model. Holes and opening are left to pour hot molten metal, when poured wax melts and the model turns as harden metal, the clay covering has to break open, and the metal image is revealed. Then with little chiseling and polishing the bronze is completely processed and possessed.
An early Chola 10th century CE bronze in the collection of NM is the Natesha from Tiruvarangulam, a class by itself. It is the most outstanding bronze image in a clear chaturakarana , poised in all respects considered as first among the Nataraja bronzes with resplendent jewels just goes with the sense of form and rhythm. Another Shiva Nataraja of late Chola period representing the divine rhythm and harmony of life, without which Indian art is inconceivable. The panchakrtya , namely srshti , sthiti , samhara , tirobhava and anugraha is visualized through this form of Shiva in the anandatandava mode. This bronze image had captivated the vision of great Raja Raja Chola and he fondly called Him as adavallavan (one who knows to dance). Indian philosophical tradition finds its abstract expression through this dancing bronze of Shiva.
Devi bronzes equally steal the show in any collection. A figure of Parvati belonging to 13th century a Chola bronze in NM gallery, sophisticated in fine abhanga , with prominent Katakamudra. Divinely ornate Devi is one of the master pieces of this genre.
One of the rarest pieces of the collection is the image of Bharata, the symbol of love, devotion and loyalty to elder brother Sri Rama. The raised hands in the attitude of his total surrender to the paduka he has placed on his head, inspires the onlooker the devotional experience the shilpi underwent while creating this work of art, which is unparallel.
Around 15 years ago, when the author of this article was taking a close view of some of the images in NM Bronze Gallery, a well-dressed gentleman came in and started looking for a particular image and asked about the image of Tirujnanasambandhar, he engaged with a good discussion as how the child Krishna and this saint differ though they look alike, it is the hand gesture suchimudra is important in Tirujnanasambandhar, it was interesting to know his deep knowledge on Indian philosophy. It was an enlightened discussion, and the visitor was Dr. Karan Singh.
Collections from the Bronze Gallery, National Museum, New Delhi
