Indian bronze sculpture is a revered art form, known for its exquisite craftsmanship and spiritual symbolism. Dating back centuries, these intricate creations showcase divine deities and mythological narratives with unparalleled skill.

Versatility of Bronze Sculpture

Technique: Indian sculptors demonstrated mastery in bronze medium and the cire-perdu or ‘lost-wax’ casting process.

• Lost Wax Process: The knowledge of the ‘lost-wax’ process dates back to the Indus Valley Culture, along with the discovery of alloy-making using copper, zinc, and tin, resulting in bronze.
• Time Period: Bronze sculptures and statues of Buddhist, Hindu, and Jain icons span from the second century to the sixteenth century.
• Utillity: Beyond ritual worship, bronze was utilized for practical items such as utensils, showcasing the versatility of the metal-casting process.
• Continuity: Present-day tribal communities continue to employ the ‘lost-wax’ process in their artistic expressions.

Early Bronze Art

‘Dancing Girl’:  From Mohenjodaro, dating back to 2500 BCE, is perhaps the earliest bronze sculpture, characterized by simplified tubular forms.

• Diamabad Uniqueness: Similar bronze statuettes from Daimabad (Maharashtra) around 1500 BCE showcase unique representations, such as the ‘Chariot’ with elongated human figures and sturdy bulls.
• Kushana Period Sculptures: Jain Tirthankara images from Chausa, Bihar, dating to the Kushana Period in the second century CE, reveal the mastery of sculptors in modeling masculine physiques and simplifying muscles.
• Unique Tirthankara Depictions: Notable is the depiction of Adinath or Vrishabhnath with long hairlocks, deviating from the usual short curly hair of Tirthankaras.
• Jainism in Gujarat and Rajasthan: Gujarat and Rajasthan, longstanding strongholds of Jainism, yielded significant Jain bronzes.
• Akota Hoard Intricacy: A hoard of Jain bronzes found at Akota, near Baroda, dated between the end of the fifth and the end of the seventh century CE, exemplifies the intricacy achieved through the lost-wax process.

Influence and Stylistic Features

Akota Hoard: It established that bronze casting thrived in Gujarat or western India between the sixth and ninth centuries.

• Jain Tirthankaras like Mahavira, Parshvanath, or Adinath were common subjects, depicted in innovative formats, either single, combined in groups of three, or representing the full set of twenty-four Tirthankaras.
• Female images in bronze represented Yakshinis or Shasanadevis associated with prominent Tirthankaras.
• Stylistically, these bronzes from Akota reflected influences from both the Gupta and Vakataka period bronzes, showcasing a harmonious blend of artistic traditions.

Bronze Casting in Buddhist Centers

During the rule of the Pala Dynasty in Bihar and Bengal (ninth century), a school of bronze casting emerged in Buddhist centers like Nalanda.

• Sculptors at Kurkihar near Nalanda successfully revived the classical style of the Gupta period, evident in bronzes like the four-armed Avalokitesvara.
• The growth of Vajrayana Buddhism is reflected in the popularity of images like Tara, seated on a throne, with a curvilinear lotus stalk and the right hand in abhaya mudra.

Bronze Sculptures in North India

Many standing Buddha images with the right hand in abhaya mudra were cast in North India, specifically Uttar Pradesh and Bihar, during the Gupta and Post-Gupta periods (fifth to seventh centuries).

• The sculptors demonstrated mastery in depicting the sanghati or monk’s robe, showcasing refined classical styles.
• Bronze sculptures from Dhanesar Khera, Uttar Pradesh, exhibit Mathura-style drapery folds, while Sarnath-style bronzes feature foldless drapery.

Bronze Art in Himachal Pradesh and Kashmir

The eighth to tenth centuries witnessed the production of bronze images of Buddhist deities and Hindu gods/goddesses in Himachal Pradesh and Kashmir.

• Notably, the growth of different iconographies, including the worship of the four-headed Vishnu, (Chaturanana or Vaikuntha Vishnu) showcased a distinct regional style. 
• While the central face represents Vasudeva, the other two faces are that of Narasimha and Varaha. 
• Dynamic bronze images from Himachal Pradesh depict the Narasimha avatar and Mahishasuramardini Durga, emphasizing dynamic and powerful portrayals.

Bronze Sculptures in Central India

Vakataka bronze images from Phophnar, Maharashtra, during the Gupta period, show Amaravati style influences with unique draping styles.

Bronze Sculptures in South India

Chola Period: South India, especially during the Chola Period in Tamil Nadu (tenth to twelfth centuries), witnessed the creation of beautiful and exquisite bronze statues.

• Patron: The widowed Chola queen, Sembiyan Maha Devi, was a distinguished patron during the tenth century. 
• Iconic Sculptures: The iconography of Shiva in the eighth-century Pallava Period and the evolution of the dancing figure of Shiva as Nataraja fully developed during the Chola Period.
• Ardhanarisvara: The Thanjavur region showcased a wide range of Shiva iconography, including the ingeniously represented ardhanarisvara murti depicting the union of Shiva and Parvati.
• Kalyanasundara Murti: The ninth-century kalyanasundara murti is highly remarkable for the manner in which Panigrahana (ceremony of marriage) is represented by two separate statuettes. 
• Shiva with his extended right hand accepts Parvati’s (the bride’s) right hand, who is depicted with a bashful expression and taking a step forward.

Vijayanagar Period in Andhra Pradesh

During the sixteenth century (Vijayanagar Period), sculptors experimented with portrait sculpture to preserve the likeness of royal patrons.

• Life-size standing portrait statues at Tirupati depicted Krishnadevaraya with his queens, showcasing both likeness and idealization in facial features and physical body modeling.
• The idealisation is further observed in the manner the physical body is modelled to appear imposing as well as graceful.
• The standing king and queens are depicted in praying posture, that is, both hands held in the namaskara mudra. 

Conclusion

From the early mastery of bronze casting techniques, evident in the ‘Dancing Girl’ from Mohenjodaro, to the refined classical styles of Gupta and Post-Gupta periods in North India, the sculptures not only depict deities but also reflect the cultural nuances of their time. 

• The versatility of bronze, used for both ritualistic purposes and daily utensils, underscores its significance in ancient Indian society. 
• Thus the journey through the rich heritage of Indian sculptural traditions spanning various regions and historical periods unveils a fascinating narrative of artistic evolution. 

DOWNLOAD PDF