2025-05-22 Thu

#LostWax sculpture making technique is quite old. Many examples are found from #Mesopotamia to #China. Some experts suggest that lost wax technique could be as old as 4000 BCE.

Imperial #Chola (9-12th Century CE) period artisans refined the lost-wax process to achieve exceptional precision. They used a solid wax model (as opposed to hollow wax in some traditions), coated with layers of clay to form molds, allowing for fine detailing. The bronzes often have a high #copper content (up to 90%), and some cases trace amount of #GOLD, giving them a unique sheen and durability compared to alloys used elsewhere, like in ancient #Greek or Chinese bronzes. Intricate surface embellishments, such as #jewelry and textiles, were incised post-casting, a practice less common in other traditions where details were often molded directly.

During the latter half of the 10th century CE, the Chola dynasty established itself as a significant power in the region. Early Chola monarchs and their relatives actively patronized existing shrines, such as the one in #Chidambaram, associated with a dancing form of #Lord #Shiva (for further insights, please refer to This Post).

The bronze imagery created during this period includes representations of #Krishna, particularly as a young boy dancing upon the head of the serpent king #Kaliya. These sculptures were commissioned not only by the Chola rulers but also by officials and members of the elite within the empire.

Although stone sculptures and the images of deities housed in temples remained fixed, the evolving religious concepts of the tenth century necessitated that deities engage in various public roles. As a result, portable bronze idols became integral to #Tamil religious practices. These idols are prominently featured in processions, allowing for direct engagement with devotees, as well as during festivities.

On March 23, 1982, as part of the 'Festival of India,' #India Post issued the second stamp featuring a 10th century CE Bronze Statue of #KaliyaMardana, which is currently housed in the National Museum in New #Delhi. Additional information regarding the first stamp on Deer Family from Nachana Temple, #MadhyaPradesh can be found here This Post.

This bronze statue depicts Krishna dancing on the serpent Kaliya's hood. The Kaliya Mardana episode is in the sixteenth chapter of the #BhagavataPurana, where the term 'Mardana' refers to the act of destroying or subduing. The narrative portrays how Krishna learns that village cattle are being poisoned after drinking from the #Kalindi #River. As the protector of the cowherd community, Krishna discovers that the proud serpent demon, Kaliya, is the culprit. He enters the water to subdue the formidable serpent, ultimately dancing on Kaliya's hood until the serpent repents and seeks forgiveness.

In this sculpture, Krishna's right hand is positioned in Abhaya mudra (the gesture of protection), while his left hand holds the snake's tail triumphantly. The five-hooded Kaliya is depicted with hands in Anjali mudra (the gesture of respect and worship). The sculpture's pedestal features four holes in each corner, suggesting it was designed as a movable image intended for use in temple processions.