Objects of Worship. Jain, Gandhara & Hindu sculpture Joost van den Bergh

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1 Objects of Worship Jain, Gandhara & Hindu sculpture Joost van den Bergh

3 Published in 2017 by Joost van den Bergh Ltd Joost van den Bergh Ltd 24 Georgian House 10 Bury Street St James London SW1Y 6A A United Kingdom joostvandenbergh.com Images & text Joost van den Bergh. All rights reserved For the book in this form Joost van den Bergh Designed by Zoë Bather Edited by Angela Koo Photography by Matt Pia Printing 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. OBJECTS OF WORSHIP Jain, Gandhara & Hindu sculpture Joost van den Bergh

4 1. Naga Raksha (cobra demon) mask Sri Lanka, 19th century Height: 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). 4 5

2. Seated Jina Polished black stone Gujarat or Rajasthan, India, AD 1182 (Samvat 1239) Height: 64 cm (25¼ in) Width: 50 cm (19¾ in) Provenance: Christie s, London; private collection, London A Jina,

The Sanskrit inscription featured on this sculpture s cushion names its patron and the date of its dedication to the Jain temple: Suprabhanãtha Caused to be made by Nemicadra, pupil of Sãntibhadra,

5 2. Seated Jina Polished black stone Gujarat or Rajasthan, India, AD 1182 (Samvat 1239) Height: 64 cm (25¼ in) Width: 50 cm (19¾ in) Provenance: Christie s, London; private collection, London 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: Suprabhanãtha Caused 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. 7

6 9

3. Standing bronze Buddha Lopburi, Thailand, c.

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 downward gaze and broad, straight mouth form an expression of serenity, while the earlobes stretched by heavy earrings represent renunciation of the princely

7 3. Standing bronze Buddha Lopburi, Thailand, c. 12th century Height: 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. 10

Between the first and third centuries, Buddhist sites here developed a more definable architectural style.

8 4. Seated Maitreya Gandhara, Pakistan, 2nd 3rd century Schist Height: 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. 13

9 5. Bronze seated Manjushri Northeast India, Pala period, 13th century Height: 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 Padmapani East India, Pala period, 12th century Height: 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. 14

7. Stone head of Buddha Lopburi, Thailand, c.

Provenance: private collection, London The region of Lopburi in

domination from the 11th to 13th century.

10 7. Stone head of Buddha Lopburi, Thailand, c. 12th century Height: 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. 17

11 8. Bronze Ganesha Odisha (Orissa), India, 17th century Height: 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.

12 9. Reclining Nandi Copper alloy with remnants of puja Karnataka, India, 15th 16th century Height: 14 cm (5½ in) Width: 17 cm (6⅝ in) 10. Terracotta bust of a woman India, Gupta period, c. 5th century Height: 27 cm (10⅝ in) Width: 19 cm (7½ in) 20

11. Standing Vishnu India, Pala period, c.

Jina Parshvanatha Bronze alloy inlaid with

13 11. Standing Vishnu India, Pala period, c. 12th century Height: 21 cm (8¼ in) Width: 11 cm (4⅜ in) Provenance: private collection, London 12. Jina Parshvanatha Bronze alloy inlaid with silver Karnataka, India, AD 1606 (Samvat 1662) Height: 12.5 cm (5 in) Width: 8 cm (3⅛ in) 22 23

14 13. Stucco head of Shakyamuni Buddha Gandhara, Pakistan, c. 4th century Height: 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. 24

Bronze Shiva Indonesia, probably Java, 18th 19th century Height: 21 cm (8¼ in) Width: 8.

15 14. Terracotta head of a woman Trowulun, East Java, Majapahit period, 14th century Height: 14 cm (5½in) Width: 9.5 cm (3¾ in) Provenance: private collection, UK 15. Bronze Shiva Indonesia, 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

Also known as Shankaranarayana (Shankara being another name for Shiva, and Narayana referring to Vishnu), Harihara united the followers of both gods.

16 16. Harihara stone stele Nepal, 16th 17th century Height: 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-Kamalaja Nepal, 16th century Height: 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

Radha Bengal, 19th century Silver with inlaid ruby eyes Height: 10 cm (4 in) Width: 4 cm

17 18. Eight-armed Ganesha and consort Bengal, c. 17th century Copper with inlaid stone Height: 6.5 cm (2½ in) Width: 4.5 cm (1¾ in) 19. Radha Bengal, 19th century Silver with inlaid ruby eyes Height: 10 cm (4 in) Width: 4 cm (1⅝ in) 20. Jain shrine Copper alloy with silver inlay West India, AD 1474 (Samvat 1531) Height: 22 cm (8⅝ in) Width: 15.5 cm (6⅛ in) 30

18 21. Bronze Balakrishna South India, 18th century Height: 9 cm (3½ in) Width: 7 cm (2¾ in) 22. Krishna Venugopala Odisha (Orissa), India, 16th 17th century Height: 18 cm (7 in) Width: 8.5 cm (3⅜ in) 32

19 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.

24. Stone four-armed Lokeshvara Nepal, 17th 18th century Height: 17 cm (6¾ in) Width: 12 cm (4¾ in) Provenance: private collection, Japan The bodhisattva

20 24. Stone four-armed Lokeshvara Nepal, 17th 18th century Height: 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. 36

25. Seated four-armed Ganesha South India, 14th 15th century Height: 7.5 cm (3 in) Width: 5 cm (2 in) 26. Ganesha Deccan, probably Maharashtra, India, 19th century Height: 13 cm (5⅛ in) Width: 7.

Shantinath shrine West 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

21 25. Seated four-armed Ganesha South India, 14th 15th century Height: 7.5 cm (3 in) Width: 5 cm (2 in) 26. Ganesha Deccan, probably Maharashtra, India, 19th century Height: 13 cm (5⅛ in) Width: 7.5 cm (3 in) 27. Seated Shakyamuni Buddha Sri Lanka, Kandy period, 18th century Height 7.5 cm (3 in) Width: 5.5 cm (2¼ in) Provenance: private collection, London 28. Shantinath shrine West 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 (saviourteacher) 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.

22 29. Boti Possibly Bengal, 19th century Height: 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. 40

23 30. Durga Eastern Deccan, India, 18th 19th century Height: 8.5 cm (3⅜ in) 31. Parshvanatha shrine West India, AD 1470 (Samvat 1568) Brass, inlaid with silver 10.5 cm (4⅛ in) Provenance: private collection, UK 42

24 32. Brass seated Jina West India, AD 1632 (Samvat 1689) Height: 10 cm (4 in) 33. Brass seated Minusvrata West India, 17th 18th century Height: 8 cm (3⅛ in) 34. Belt hook with head of Garuda Indonesia, 18th 19th century Length: 7 cm (2¾ in) Provenance: Henry Brownrigg, London 45

35. Royal porters Sri Lanka, c. 1900 Brass and metal Height: 12 cm (4¾ in) 36.

25 35. Royal porters Sri Lanka, c Brass and metal Height: 12 cm (4¾ in) 36. Four-armed Ganesha Odisha (Orissa), India, 13th 14th century Brass alloy Height: 7 cm (2¾ in) 46 47

26 37. Bronze crawling Balakrishna Tamil Nadu or southern Karnataka, India, 19th century Height: 8.5 cm (3⅜ in) 38. Krishna Venugopala Bengal, India, 18th 19th century Bronze with inlaid eyes Height: 16 cm (6¼ in)

27 By appointment: Joost van den Bergh 24 Georgian House, 10 Bury Street, St James s London SW1Y 6AA joost@joostvandenbergh.com +44 (0)

Granite 75.8cm Cleveland Mus ACSAA Slide (c)cleveland Mus

Granite 75.8cm Cleveland Mus ACSAA Slide (c)cleveland Mus Sc India 14301 Kushan Mathura 2C.AD See ACSAA Slide 6316 Yakshi Rail Pillar Stupa Motif on Rear Red Sandstone 70.5cm Cleveland 65.250 ACSAA Slide _ Cleveland Sc India 14302 Kushan Gandhara 200AD See ACSAA