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The enigmatic
statue probably dates from the late 6th or early 7th century and comes
from the Salt Hills of Punjab. The visible strength of personality,
authority and a forbidding character suggests possibly a regional governor
of the Sassanian empire, but it is more likely the character portrayed is
an Indian god. Possibly a deity from north western India, identified as a
king amongst gods, was depicted in Sassanian dress because in that region,
this style retained its prestige and represented authority.
The
Sassanians came to power in Iran in 226 A.D. The second emperor, Shapur
(240-270 A.D.), extended his authority eastwards into India and the
previously autonomous Kushans were obliged to accept his suzerainty.
Successive Sassanian emperors were either tolerant of other religions or
pursued policies of persecution, particularly against Christians, but in
India the Kushans were generally tolerant of indigenous beliefs. Thanks to
traded goods such as silverware and textiles depicting the Sassanian
emperors engaged in hunting or administering justice, their imperial
example became well known in Kushan India and, owing to the political
relationship, it was wise for Kushan art to be seen to be drawing
inspiration from Iran, imitation being one of the best forms of flattery.
This adoption of Iranian forms, rather than Indian, also helped the
Kushans to maintain their aloofness from their subjects. Although the
Kushan empire declined at the end of the 3rd century, leading to the rise
to power of an indigenous Indian dynasty, the Guptas, in the 4th century,
it is clear that Sassanian influence remained relevant in the north-west.
Images of Zoroastrian gods are rare, the fire altar being the
chief symbol of spiritual presence. However, images of the emperors and
their officials abound. To the Sassanians, ruling a vast empire, the
visual image of the emperor was an important weapon in maintaining
authority, the steadfast, heroic image, seen dispensing justice, tending
the sacred flame or fearlessly hunting lions, put him on a different level
from his subjects. Thus, the epitome of power within Iran became the
prototype for smaller neighbouring kingdoms. In India, by the 5th century,
Hindu gods were regularly sculpted as the image had become an essential
element in worship, replacing sacrifice as the central part of the ritual.
In addition, the Hindu gods are believed to be close to their devotees,
capable of manifesting at any time. It might be assumed that, at their
most powerful, they would do so in the guise of an emperor.
Punjab
was effectively sandwiched between two vastly different cultural
traditions. If we consider the prevailing theological influence was the
Indian religions, artworks such as this indicate that this region looked
to Iran, rather than to the Gupta power based in the Ganges Valley, for
other cultural inspiration. The visual image of Sassanian authority
appears to have been imposed on the iconic requirements of different
religious beliefs. This figure is of a mature man. Indian gods are
generally youthful in appearance but here we see a character whose
authority is based on seniority. He is seated, not on the lion throne of a
Kushan emperor but a simple seat, rather like a boulder. His pose is
typically Sassanian, frontal with knees and feet turned out. Behind his
head is a plain aureole, the style of which is in keeping with this period
and region, which reinforces the indications of divine identity. Looking
at Sassanian imperial images shown on coins, each emperor wears a
distinctive crown, and these become successively more elaborate. The
constant element is the korymbos, the bulbous central element which was
made of silk and designed to contain the hair. Additionally a diadem was
worn, with pointed, sometimes wing-like elements and pleated ribbons
falling on either side. In this case the korymbos and diadem closely
resemble that worn by Khosrow II (590 - 628 A.D.), whose reign marked a
period of great elegance and splendour. His crown can include the crescent
moon, but in India this had a different significance, being worn in the
hair of Shiva. Shiva is distinguished by his long hair, thickly curled,
piled into a chignon with locks falling on to his shoulders, and he is
sometimes bearded. Again, these elements associated with the Sassanian
emperors could be adopted for an image of
Shiva.
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