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Table of Contents
a pilot project
by Kathmandu Valley Preservation Trust
CARVED ROOF STRUTS
3. PATAN, SULIMA TOL. SULIMA RATNESVARA TEMPLE
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Item
stolen:
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Nine carved wooden roof struts from the original building. |
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Date
of theft:
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Early 1970. |
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Specifications:
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Upper roof struts: Width: 0'- 7" Height: 4'- 8" Lower roof struts: Width: 0'- 6" Height: 3'- 8" |
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Description:
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The general motif of the struts is the Salabhañjika.
" Buddhist Art adopted the motif of the Salabhañjika
reaching above her head into the trees to represent Maya, the
mother of Prince Siddharta: she gives birth to her son while standing
and supporting herself by reaching up with one arm into the Sala
tree above her head." (RAU, p.144) Following are photos of 7 (out of a total of 9) old stolen struts. |
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Location:
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Upper and lower roof level |
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Building
Date:
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13/14th c. |
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References:
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For two similar struts cf. Pal, The Arts of Nepal,
Vol.1, Sculpture, nos. 235 and 236. Mary Shepherd Slusser. Nepal Mandala Vol. 2, plate 192. Heimo Rau, Workshops of Traditional Newar Woodcarving in: Journal of the Nepal Research Center, Vol. VII 1985, p.154, 155. |
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Other:
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This temple was restored by the Kathmandu Valley Preservation Trust 1997 - 99. The Trust reproduced the lost struts based on research and photographic evidence. One of these contemporary replacements was recently (mid 2000) stolen! |
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Photos:
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More visual records sought/invited. |
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1 |
2 |
3 |
1. "Salabhañjika reaches with both hands into the branches above her head. She is standing with legs crossed on head and right shoulder of a crouching Yaksa." (RAU, p.154,4.)
2. "Salabhañjika embracing the runner of a tree; she is standing beneath it, touching it with her lap. With her legs crossed she stands on a Yaksi with pendulous breasts, with her left foot on her elbow, her right foot on the Yaksis head. "(RAU, p.154,3.)
3. "Salabhañjika as a dancing girl with likely, contrastive movement of limbs. Reaching above her head with her left hand into the branches, her right hand swinging free and almost touching the foot of her left leg, the left knee raised.Right leg standing on the left shoulder of the Mrdañga player. The sash of her richly decorative belt is also swinging in rhythm with the dance. Lower half of both legs with broad belled anklets. The only clothing worn by the dancing girl is her jewellery." (RAU, p.154,1.)
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4 |
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7 |
4. "Salabhañjika reaches with her right hand above her head into the branches. The left hand is broken off, its function thus unclear. She is standing crosslegged on the head and shoulder of a crouching Yaksa." (RAU, p.154,6.)
5. "Salabhañjika reaches with her right hand above her head into the branches above her head. Her left hand is raised in Abhayamudra. To her left, a bird is sitting on a tree trunk. She is standing with legs crossed on the head and left upper arm of a crouching Yaksa." (RAU, p.155,8.)
6. "Salabhañjika reaches with her left hand into the branches, holding a hanging branch in her right hand. Standing cross-legged on the head and right shoulder of a crouching Yaksa." (RAU, p.154,5.)
7. "Salabhañjika as a dancing girl above a Mrdañga player. Her movements are a mirror-image of those of the dancing girl on the right. Both struts are thus linked together as a unitary composition." (RAU, p.154, 2.)