Family portraits of the Hindu god Shiva and his spouse Uma (or Parvati) are generally known in Sanskrit texts as Uma-Maheshvara (“Uma and the Great Lord” [Shiva]). Their children Ganesha and Kumara typically accompany them. In eastern Indian representations of this theme, such as the present example, the divine couple’s love for each other is clearly expressed by their degree of physical intimacy. In contrast, central Indian representations are more formal and their interaction is subdued (see M.75.11). Shiva and Parvati sit on a double lotus base on a tiered pedestal. They are embracing with their arms around each other. Shiva is turned towards Parvati and caresses her cheek and breast with two of his four hands (the other two are now missing, as is Parvati’s left arm). Shiva is ithyphallic (urdhva linga), symbolizing the generative energy of the universe. His right foot is supported by his bull mount Nandi. Parvati’s lion mount is symmetrically placed opposite Nandi. On their right side, the elephant-headed Ganesha sits on a separate lotus base. They are flanked on their left side by the youthful Kumara sitting on his own lotus base. He holds his spear attribute. At the bottom right of the pedestal, a female donor knells with her hands held in the gesture of adoration (anjali mudra). The remnants of blue paint in Shiva’s piled hair (jata mukuta) likely indicates that the bronze may have once been under worship in Nepal or Tibet.

• Rosenfield, John.  The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection.  Boston:  Museum of Fine Arts, Boston, 1966.
• Ray, Nihar Ranjan, Karl Khandalavala, and Sadashiv Gorakshkar.  Eastern Indian Bronzes.  New Delhi:  Lalit Kalā Akademi, 1986.
• Pal, Pratapaditya. Indian Sculpture, vol.2. Los Angeles: Los Angeles County Museum of Art; University of California Press, 1988.