Sculpture

Mahiṣāsuramardinī in bronze with prabhāvali, Western India (Deccan/Maharashtra), 19th century. Bronze devotional cast in the Persian lost-wax technique with an arched halo, prabhāvali, and a rectangular multi-step base. The Goddess is depicted advancing, her torso adorned with jewelry and a tall conical jaṭā-mukuṭa; she wields an elongated weapon (lance/śūla) and with a determined gesture dominates the demon buffalo Mahiṣa: the animal’s body lies at the base, while the anthropomorphic demon emerges from the wound at the neck, a canonical iconographic detail of the Mahiṣāsuramardinī theme. The right leg is elegantly bent and rests squarely on the buffalo’s back, emphasizing victory; beside it, a small figure with hands joined indicates the votive use of the image, while, on the front edge of the pedestal, a pair of footprints (pādukā/pāda-chihna) offers the devotee an aniconic sign of the divine presence and of darśan. On the arch appear small apotropaic and circular emblems, including a crescent moon, in an ornamental repertoire typical of workshops in Western India. The ensemble preserves a light stratification of ritual dust in the cavities, consistent with long ritual use. Theologically, the subject fully belongs to the Śivaita taste: Mahiṣāsuramardinī is the warrior aspect of Durga/Parvatī, the Śakti (energy) of Śiva. The scene, narrated in the Devi Māhātmya, is an allegory of the feminine principle that reestablishes cosmic order by defeating chaotic forces; the worship of the Goddess, even in a Śivaita context, integrates and “activates” Śiva’s power. In terms of style and technique—lost-wax casting with smooth surfaces, full face, tall conical headdress, elliptical prabhāvali with punched motifs, and a low stepped base with a small donor in prayer—the work is very likely from the Deccan/Maharashtrian area and dates to the first half of the 19th century, with a language that preserves archaising elements typical of popular sculpture in Western India.

Utropspris:SEK 4,450.37

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