Busacca Gallery

And incredibly beautiful Little bronze. A spectacular little dancing figure. Very rare. 13th century. Based on the research it looks to be from Chola dynasty? The Chola dynasty produced some of the most remarkable sculptures in the history of Indian art. Made from the cire perdue or lost-wax technique the detailing can be quite spectacular and this bronze is a superb example. Images of Balakrishna dancing were extremely popular during this period and as with dancing Siva figures the emphasis is on the rhythmic movement of the body and graceful balletic gestures. Furthermore bronzes of this type exemplify the fact that traditionally dance is of considerable importance to worship and culture in India. We think it could be from Southern India? Tamil Nadu, Chola Dynasty / The child Krishna is portrayed dancing with his weight on his left leg, knee bent and toes pointing outwards, with the hips swaying to the right, the right leg raised, knee bent and toes pointing downwards. His upper body is held erect with the right arm forming a gesture of protection (abhayamudra) while the left arm is gracefully extended with the dance. His head is slightly turned to the right, which completes the energetic movement generated throughout the sculpture. His foot rests on a lotus pad set onto a square pedestal with loops at the side for processional purposes. He does not wear any clothes but is adorned with numerous items of jewelry including a girdle of bells (kinkini). His face has a charming and happy expression.

Link: https://en.wikipedia.org/wiki/Chola_art

The period of the imperial Cholas (c. 850 CE – 1250 CE) was an age of continuous improvement and refinement of Dravidian art and architecture. They utilised their prodigious wealth earned through their extensive conquests in building long–lasting stone temples and exquisite bronze sculptures.


Although bronze casting has a long history in south India, a much larger and a much greater number of bronze sculptures in all sizes ranging from massive to miniature were cast during the Chola period than before, further attesting to the importance of bronze sculpture during this period. It should be noted that when in worship, these images are bedecked in silk costumes, garlands, and gem encrusted jewels, befitting the particular avatar and religious context. Decorating temple bronzes in this way is a tradition at least a thousand years old and such decorations are referred to in 10th–century Chola inscriptions.


In recent times, many of these priceless Chola bronzes have been stolen from their temples or museums, smuggled out of India and have found their way into the private museums of art–collectors.


The Chola period is also remarkable for its sculptures and bronzes.[19] Among the existing specimens in the various museums of the world and in the temples of South India, may be seen many fine figures of Siva in various forms accompanied by his consort Parvati and the other gods, demigods and goddesses of the Saivaite pantheon, Vishnu and his consort Lakshmi, the Nayanmars, other Saiva saints and many more.[1] Though conforming generally to the iconographic conventions established by long tradition, the sculptor could also exercise his imagination within the boundaries of the canonical Hindu iconography and worked in greater freedom during the eleventh and the twelfth centuries. As a result, the sculptures and bronzes show classic grace, grandeur and perfect taste. The best example of this can be seen in the form of Nataraja the Divine Dancer.


Around the 10th century demanded that the deities take part in a variety of public roles similar to those of a human monarch. As a result, large bronze images were created to be carried outside the temple to participate in daily rituals, processions, and temple festivals. The round lugs and holes found on the bases of many of these sculptures are for the poles that were used to carry the heavy images. The deities in bronze who participated in such festivities were sumptuously clothed and decorated with precious jewellery. Their every need and comfort were catered to by a battery of temple priests, musicians, cooks, devadasis, administrators and patrons. The lay public thronged the processional route to have a darshan and admired their beloved deity for the lavish depiction of the figure and the grand costumes and jewelry.