Western Indian bronze

Style of metal sculpture that flourished in India from the 6th to the 12th century and later, mainly in the area of modern Gujarat and Rajasthan states.

Most of the bronzes are associated with Jainism; they include representations of saviour figures and ritual objects such as incense burners and lamp bearers. Most are small, as they were intended for private worship. They were made by lost-wax casting, and the eyes and ornaments are frequently inlaid with silver and gold.

Rsabhanatha, Western Indian bronze from Chahardi, western Khandesh, Maharashtra state, 9th century ...

P. Chandra

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▪ Indian art

      any of a style of metal sculpture that flourished in India during the 6th to the 12th century and later, mainly in the area of modern Gujarāt and Rājasthān states. The bronzes are, for the most part, images of the Jaina faith—representations of the saviour figures and ritual objects such as incense burners and lamp bearers.

      Important hoards have been discovered at Akota, near Vadodara (formerly Baroda, in Gujarāt), and at Vasantgarh, near Pindwāra (Rājasthān). The images are mostly small in size, intended for private worship. The bronzes were cast by the cire-perdue (“lost wax”) process, and the eyes and ornaments are frequently inlaid with silver and gold. In the earliest images—such as the Ṛṣabhanātha and the Jivantasvami (Mahāvīra as prince) from Akota that are now in the Baroda Museum—the Gupta idiom is apparent.

      The dictates of the Jaina religion, which emphasizes the detachment of the Tīrthaṅkaras (Tirthankara) from the world, left little scope for variety of representation (see Tīrthaṅkara (Tirthankara)). The main figures are shown either standing stiffly with arms to the side in the kāyotsarga (“abandoning the body”) pose or sitting in the posture of meditation (dhyana-mudra). More variety is seen in the attendant figures, such as the graceful caurī (“whisk”) bearer from Akota in the Baroda Museum. From the 8th century the number of attendant figures, such as yakshas and yakshis (respectively, male and female nature deities), and of the Tīrthaṅkaras increased, and the composition became more elaborate. This tendency reached its extreme in metal images depicting all 24 Tīrthaṅkaras. With the elaboration of design, the quality of the modeling became increasingly dry, so that the later bronzes are somewhat static and frozen.

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