Important Notice

TAMIL NADU, 11TH CENTURY
Bronze
20.75 in (52.7 cm) high

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Estate of Khorshed Karanjavala

Parvati is the consort of Shiva. She stands here in the tribhanga pose. Her right hand is in the kataka mudra, and her left arm is held gracefully by her side (lolahasta). She wears a jatamukuta, and is adorned by ornate necklaces and a diadem. She is draped in a diaphanous garment held at the waist by a girdle and strings of pearls.

In one of her manifestations as Shivakami, she is believed to have materialised to witness the Tandava, Shiva's divine dance. She is a manifestation of Shiva's inherent power, and merges with him at the end of the performance. "Symbolically, Sivakami is the embodiment of the potential power of Siva remaining ever in union (Yoga) with him and represents the totality of knowledge, Sri Vidya. In the worship of Siva Nataraja, the resultant emanation of knowledge in the spectator's consciousness is what is alluded to. Sivakami represents vijnana and Nataraja represents ananda." (Nagaswamy, Timeless Delight, p. 85)

This bronze sculpture dates to the golden age of the Cholas. The Cholas of Thanjavur ruled from the ninth to the thirteenth century. They brought the whole of the Tamil empire under their control. During their time, they built many temples and commissioned the making of various metal sculptures. Bronzes made during their time are "acknowledged as masterpieces today... Many of these early masterpieces were royal donations, dedicated for worship by kings and queens." (Nagaswamy, Timeless Delight, p. 22)

TAMIL NADU, 11TH CENTURY
Bronze
20.75 in (52.7 cm) high

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Estate of Khorshed Karanjavala

Parvati is the consort of Shiva. She stands here in the tribhanga pose. Her right hand is in the kataka mudra, and her left arm is held gracefully by her side (lolahasta). She wears a jatamukuta, and is adorned by ornate necklaces and a diadem. She is draped in a diaphanous garment held at the waist by a girdle and strings of pearls.

In one of her manifestations as Shivakami, she is believed to have materialised to witness the Tandava, Shiva's divine dance. She is a manifestation of Shiva's inherent power, and merges with him at the end of the performance. "Symbolically, Sivakami is the embodiment of the potential power of Siva remaining ever in union (Yoga) with him and represents the totality of knowledge, Sri Vidya. In the worship of Siva Nataraja, the resultant emanation of knowledge in the spectator's consciousness is what is alluded to. Sivakami represents vijnana and Nataraja represents ananda." (Nagaswamy, Timeless Delight, p. 85)

This bronze sculpture dates to the golden age of the Cholas. The Cholas of Thanjavur ruled from the ninth to the thirteenth century. They brought the whole of the Tamil empire under their control. During their time, they built many temples and commissioned the making of various metal sculptures. Bronzes made during their time are "acknowledged as masterpieces today... Many of these early masterpieces were royal donations, dedicated for worship by kings and queens." (Nagaswamy, Timeless Delight, p. 22)