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2. STANDING VISHNU Eastern India (Bengal, Pala period) 11th/12th century Height: 97 cm Width: 53 cm Depth: 18 cm |
A finely carved and polished blackstone vertical pierced frieze of a standing Vishnu in a strict frontal pose atop a lotus pedestal, with his feet planted together (samapadasthanaka), wearing a dhoti and decorated with elaborate jewellery to his arms, neck and torso. He is surrounded by deities, attendants and mythical beasts on all sides. Vishnu stands bearing his attributes in each hand. A large mace can be clearly seen in his top right hand. Slightly below, his other right arm, bent at the elbow, has the palm open to reveal a lotus flower. His two left arms are fragmentary, and would originally have held his other attributes, a conch and a chakra (wheel or discus). Highly decorative armlets (bazubands) are worn on his upper arms. Carved to depict gold fretwork filled with jewels and beads, the elaborate bazubands rise to a point at the front and tightly clasp the flesh. Around his neck is a thin beaded chain above a much larger floral necklace, probably a tulsimala, a necklace of tulsi leaves, which is one of the attributes of Vishnu. Although not muscular, Vishnu’s form has a masculine solidity, emphasised by the long necklace which falls from his neck, following the contours of his upper body and curving at right angles around his waist towards his back. This attribute is often said to be the priest’s sacred thread (janayu or yajnopavita), and always hangs on Vishnu from the left shoulder to the right hip. A long central tassel hangs from his beaded dhoti, running parallel between his legs and carved with a pattern of diamond- shaped rosettes. From the knees downwards, his legs are undecorated except for a segment of the thick vanamala (his sacred garland of wild flowers) running horizontally across. Flanking his legs to left and right are the smaller figures of Sri and Pushti, each standing on a lotus pedestal in a gentle S-curve (tribhanga) with an arm resting against the thick garland. Sri holds a chowrie or flywhisk. Pushti, who is none other than Sarasvati, the goddess of wisdom, holds a vina (a stringed musical instrument) in both hands. Two smaller male figures stand further back. According to Praptapaditya Pal, they are Padmapurusha and Chakrapurusha, personifications of Vishnu’s lotus and discus.(1) Flanking Vishnu’s lotus pedestal are two small crouching figures, possibly donors. Further up on either side of Vishnu are carvings of mythical makaras and vyalas who balance on top of single elephants. A pair of celestial musicians (gandharvamithuna) appear from behind the makaras, and to the top of the frieze are a pair of larger crouching garland bearers (vidyadhara) who sit upon clouds, framing Vishnu’s curving nimbus to the centre. The crisp and lively carving of all the forms and ornaments reflects the meticulous skill and penchant for exuberant ornamentation characteristic of Bengali sculpture of the eleventh and twelfth centuries.(2) Images such as this were very popular in Bengal and worshipped in the principle shrine or placed in subsidiary niches. This style followed the description for images of Vasudeva given in the Matsyapurana, one of the early religious texts dating from the fifth century or earlier.(3) In the relevant passages it is stated that Vasudeva (Vishnu) should hold his four attributes in specific hands, with the club and lotus on his right and the wheel and conch on his left, and that the two spouses Sri and Pushti should accompany him. He should be surrounded by floral and animal motifs, celestial beings and musicians. For a similar Vishnu stele, see Pratapaditya Pal, Asian Art at the Norton Simon Museum, Volume 1: Art From The Indian Subcontinent, 2003, p. 197, cat. no. 153B. References: 1. Pratapaditya Pal, Asian Art at the Norton Simon Museum, Volume 1: Art from the Indian Subcontinent, 2003, p.197. 2. Ibid., p.198. 3. Ibid., p.197. |