The Cholas had ruled as chieftains in Tamil Nadu since the 3rd BCE till the 10th CE. The rise of Cholas in early 9th CE was marked when Parantaka I, came to power and established an independent state by conquering the southern frontier by campaigning against the Pandyas and capturing their capital Madurai. After this victory, the Cholas had to face a defeat at the hands of Rashtrakutas. There followed a period of 30 years with succession of not so powerful kings, this brought about decline in Chola rule. Soon the pendulum was to swing the other way, as the Rashtrakuta power declined, the Cholas regained their control during the rule of Rajaraja I (985-1014) and of his son and successor Rajendra, these 50years marked the zenith of Chola rule. The Chief patrons, of Chola bronzes were the emperors, who generally encouraged Shaivaite images since they were followers of Shiva. Various versions of Shiva Nataraja became popular. Other subjects range from different Hindu deities to Saivite saints.
In Manasara, an ancient Indian text on image-making, there is a fairly detailed description of the process for solid figures. The highly specialised craftsmen who these images were organised in guilds known as the sthapathis. The larger bronze figures, called utsava-devas (festival idols), varying from 30cm to 1.5m in height, were made especially for carrying in ceremonial processions because the main shrine images of a temple were too heavy to be carried as they were made of stone or wood. These bronze images were also in private use.
Made with unusually high percentage of copper. The statues were cast by the ‘cire perdue’ (lost wax) process. Under this process two methods were involved. In the first, they prepared a wax model. Over this they made a clay mould. When this mould became hard, they melted the wax out and poured liquid metal into the clay mould. When the metal had cooled, they broke the mould and gave the image the final chasing and burnishing.
In the second method, they first made a clay model and coated it with a layer of wax to reproduce exactly all the details of the form. Then they covered the wax with a thin layer of fine clay. When this dried, they added more layers until a thick outer shell had formed. This is called the negative. Then they headed the statue until the wax melted and ran through openings, leaving a space between the mould and the negative. Into this space they poured liquid metal to replace the wax and reproduce all the details of the figure. When the metal had cooled and hardened, they broke away the outer shell. Then the figure was chased with a chisel and polished. Hence, the first method gave a solid figure and then second method gave a shell.
Some of the popular Chola bronzes displayed at museums are:
Parvati: A bronze statue of Queen Sembiyan Mahadevi depicted as the Goddess Parvati. She has greatly elongated body and limbs, combines a certain dignity and liveliness despite the rather primitive features. There are lugs at the base for inserting poles shows that it was meant to be borne in processions.
Figure 1: Queen Sembiyan Mahadevi as Goddess Parvati
Courtesy: National Museum of Asian Art
Somaskanda: Well modelled, with a four-armed Siva sitting beside Parvati. Both wear an elaborate crown. Unfortunately, little Skanda’s figure is broken away.
Figure 2: Shiva and Uma (Somaskanda)
Dimensions: H: 59.2cm x W:71.8cm x D:31.6cm
Courtesy: National Museum of Asian Art
References:
- Sastri, K.A. Nilkantha. A History of South India from Prehistoric Times to the Fall of Vijayanagar. London, Oxford University Press, 1958.
- Tomöry, Edith 1982. A History of Fine Arts in India and the West. Hyderabad: Orient Longman
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