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11. Mahavira India, Mysore 12th century Gilt copper alloy, cast in the lost wax method, base cast separately height 49,5 cm. |
The present image very likely represents Mahavira, one of the most important and commonly represented Digambara Jinas, who is often depicted in a similar posture. Jainism has been continuously practiced since at least the eighth century BC and has a current following of over six million people. With Buddhism and Hinduism, it is one of the three major world religions to have emerged in India. Jains believe that an immortal and indestructible soul (jiva) resides within every living being. The goal of a Jain is to achieve a state of liberation via a chain of rebirths. They believe in a group of 24 Jinas, also known as Tirthankaras or conquerors. The naked Jina stands on a circular throne. His arms hang loosely at his sides in the lolahasta position. His large curls conform to the usual mode of depicting a Jina’s hair. Rising from the crown of his head is the ushnisa, symbolizing his spiritual wisdom, and elongated earlobes stretch to his shoulders. His waist is slender and athletic, in striking contrast to his broad and powerful shoulders. The hands are sensitively rendered and connected to the body with struts. The ankles are marked with curls and engraved lines follow the contours of his neck, waist and wrists. The sculpture exemplifies the Jain art produced by the Karnataka school of art during the 11th and 12th centuries. The elongated and pure body shapes, idealized proportions, large curls and ears, the arms stretched along the body, the circular throne on a square base, and the engraved lines on the neck and body are all typical characteristics. The high quality casting in a rich goldmetal alloy displays stylistic affinities with a number of known pieces of the same period. The sculpture, cast in polished gold metal alloy, is achieved with imaginative splendour and beautiful natural physical realization. The deliberate forms of the body are rendered with imposing volumes and pure lines that enhance the spiritual presence of this eminent teacher. The upright posture and arms held parallel to the body create a dynamic tension, in stimulating contrast to the Jina’s ascetic character. Provenance: Collection Mr. Sam Booth, Los Angeles, U.S.A. Sam Booth was a well known American collector and was a good friend and mentor to the founders of the Booth Western Art Museum, located in Cartersville, Georgia. His portrait hangs in the Grand Hall of the museum which is named in his honor. Art Loss Register Certificate, Reference S00015066. C. Sivaramamurti, Panorama of Jain Art, 1982, fig. 328 and fig. 329. P. Pal, The Peaceful Liberators. Jain Art from India, Los Angeles County Museum of Art, 1995, fig. 47b. J. Van Alphen, De Trap naar de Verlossing. 2500 jaar Kunst en Religie van het Jainisme. Etnographic Museum Antwerp, 2000, fig. 71. P. Pal, Asian Art at the Norton Simon Museum, I, Art from the Indian Subcontinent, 2003, fig. 221. |