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国内拍卖首页 > Galerie Zacke > 第一天——精美的亚洲艺术、佛教与印度教 > Lot 0238
A LARGE AND EXCEPTIONAL BRONZE FIGURE OF PARVATI (UMA) WITH HER INFANT SONS SKANDA AND GANESHA,
奥地利
2025年10月16日 开拍
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A LARGE AND EXCEPTIONAL BRONZE FIGURE OF PARVATI (UMA) WITH HER INFANT SONS SKANDA AND GANESHA, SRIVIJAYA, 9TH-10TH CENTURYSouthern Sumatra and Malay Peninsula. Heavily cast, standing in a slight tribhanga atop a beaded double-lotus base raised on a tiered pedestal with a recumbent Nandi to the foot. The lowered right hand of the deity holding Ganesha's extended fingers, while the left cradles the infant Kartikeya who clutches a lotus bud in his fist. Each adorned in beaded jewelry, the young boys with further tasseled bells to their waist, while their bare-chested mother wears a foliate-incised diaphanous dhoti secured at the waist by a belt and beaded bands suspending tassels.Her face with a serene expression, wide almond-shaped eyes, incised brows centered by a tilak, and full lips forming a calm smile, flanked by ears with tasseled earrings. The thick locks of braided hair pulled up into a high chignon and falling in thick tresses to the shoulders, and secured by a foliate tiara. Provenance: From an important private collection in London, United Kingdom. Acquired in Asia over 30 years ago.Condition: Very good condition with wear, commensurate with age. Casting irregularities, signs of weathering and erosion, small losses, scattered nicks and scratches, corrosion, and encrustations. The bronze with a rich, naturally grown patina with extensive malachite encrustation and a deep emerald-green hue overall.Weight: 10,049 g (excl. stand)Dimensions: Height 55 cm (excl. stand)With an associated stand. (2)This superbly cast and sensuous bronze depicts Parvati, the archetypal Hindu mother goddess and embodiment of fertility. Known in South India as Uma, she is the consort of Shiva and mother to Ganesha and Skanda (Kartikeya). In the Hindu tradition, goddesses of fertility draw upon ancient nature cults, later assimilated into the symbolic repertoire of Indian religious art. The prototype for the idealized female torso was the damaru, Shiva's hourglass-shaped drum, whose narrow waist and flaring ends are echoed in the sculptural form. This image captures the fullness of the feminine ideal in Hindu art, combining sanctity with sensuality. Throughout India, the Mother Goddess was popularly worshiped under a variety of local names [fig. 1], but in Srivijaya (and across much of Southeast Asia) she was most often invoked as Uma in religious contexts, or by the honorific Paramesvari, a title that could denote the goddess herself or serve as a royal epithet for queens.The Srivijaya kingdom, centered on southern Sumatra and the Malay Peninsula from roughly the 7th to 11th centuries, controlled key maritime trade routes linking India and China. Its political structure appears to have been a loose federation of coastal settlements, united by commerce and shared culture, with its main center likely near modern Palembang. Indian merchants, and later Indian missionaries, introduced to the region their customs and cultural traditions, their literature and writing systems, systems of governance, and their religious beliefs. It is in this context that religious bronze sculpture also was introduced. While much of its architecture has vanished—built in perishable materials—the kingdom's enduring legacy survives in its religious bronzes.Buddhism was the predominant religion in Srivijaya, but Hinduism was also practiced, as evidenced for example by the Bumiayu temple ruin, a red brick Shaivite temple compound built and used between the 8th and 13th century, located by the banks of the Lematang River, a tributary of the Musi River. According to the styles of Shiva and Agastya statues found in Bumiayu temple 1, those Hindu statues are dated from around the 9th to 10th-century. By the 12th to 13th-century it seems that the faith in Bumiayu was shifted from Hinduism to Tantric Buddhism. Srivijayan sculptures, both Buddhist and Hindu, attest to an elite culture fluent in the iconographies and rituals of India, and able to adapt them to local contexts. In the Hindu sphere, Shaiva devotion was prominent, and bronzes like the present example would have served as icons in temple and processional use.The present bronze belongs to a rare group of large-scale Srivijaya sculptures that show the kingdom's receptivity to artistic influences from across Asia. The Chola dynasty of Tamil Nadu provides the closest stylistic parallels [fig. 2]—seen here in the tribhanga pose, the tall jatamukuta headdress, and the refined treatment of jewelry and drapery. Further influences can be detected in the art of the contemporaneous Pala kingdom of Northeastern India, in the pronounced beadwork as well as the wide lotus petals with pointed tips, and their staggered arrangement between top and bottom layers, derived from 9th-century Pala bronzes [fig. 3]. At the same time, there are traits more specific to the Srivijaya sphere: the subtly fuller proportions, the high plinth, and the integration of regional ornament types. Java, too, was a key partner in this cultural network, sharing both artistic idioms and the Hindu pantheon [fig. 4], and the cross-fertilization between Javanese and Srivijayan workshops further enriched the sculptural vocabulary. Other artistic influences came from the Dvaravati and Khmer artistic traditions from what is today northern Thailand and Cambodia.Hindu bronzes from Srivijaya demonstrate the cosmopolitanism of the kingdom and its role as a nexus for Indian Ocean exchange. The depiction of Uma (Parvati) here with her infant sons—Skanda (Kartikeya) cradled at her hip and Ganesha standing at her side—is an iconography rooted in India [fig. 5] but embraced in Southeast Asia as a statement of divine maternity, protection, and auspiciousness. Such images would have resonated with Srivijayan elites who identified with the fertility and prosperity the goddess embodies. The bronze's preservation, with crisp modeling and an even green patina, underscores its survival outside the heavy ritual handling common in India, offering us today a remarkably intact vision of Srivijaya's Hindu artistry at its most sophisticated.Literature comparison: Hindu bronzes from Srivijaya of such large scale are extremely rare. Compare a related figure of the bodhisattva Amoghapasha reportedly from southeastern Sumatra, with a similar green patina as the present lot, 41 cm high, dated late 8th-early 9th century, from a private collection and included in the seminal exhibition Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, Metropolitan Museum of Art, 15 April-27 July 2014, New York, cat. no. 160.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

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