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Collections

Unknown
Jina Mahavira (?)circa 850-900

On view:
David Geffen Galleries, Images of the Divine in South Asia
Bronze sculpture of a seated figure in cross-legged posture, hands folded in lap, bare torso, with olive-brown patina and patches of verdigris green
Bronze sculpture of a seated figure in cross-legged position, bare-chested with curled hair, elongated earlobes, and hands resting in the lap, shown in profile with dark green-brown patina.
Bronze sculpture viewed from behind, seated figure in cross-legged meditation posture with hands resting on knees, head featuring incised curled hair pattern, green-brown patinated surface with traces of gold.
Bronze sculpture of a seated male figure in cross-legged meditation posture, bare-chested, with hands resting in lap, elongated earlobes, and patterned hair; dark patina with areas of green oxidation.
Bronze sculpture of a seated figure in cross-legged meditation posture, hands resting in lap, bare torso, elongated earlobes with circular earrings, and closely cropped hair, with dark patinated surface.

Unknown, Jina Mahavira (?), circa 850-900, Los Angeles County Museum of Art, From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase, photo © Museum Associates/LACMA

Artist or Maker
Unknown
Title
Jina Mahavira (?)
Place Made
India, Karnataka or Tamil Nadu
Date Made
circa 850-900
Medium
Copper alloy
Dimensions
8 7/8 x 7 5/8 x 3 1/4 in. (22.54 x 19.37 x 8.26 cm)
Credit Line
From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase
Accession Number
M.82.6.2
Classification
Sculpture
Collecting Area
South and Southeast Asian Art
Curatorial Notes
Jina Mahavira (circa 599-527 BCE) was born a prince of the Lichchhavi clan of Vaishali, Bihar. He became the 24th Jain savior (Jina or tirthankara [‘forder’ between the phenomenal world and enlightenment]). Conceived as an ideal yogi, the Jina gazes serenely while seated in the meditation posture (dhyana asana) with his legs crossed beneath him and his hands laid on top of one another in his lap (dhyana mudra). He has short snail curl hair and distended earlobes, both symbolizing his renunciation from the princely realm when he previously had long locks and wore heavy golden ear ornaments. This representation of Jina Mahavira depicts him totally naked in accordance with the rules of the Digambara (‘sky-clad’) Jain order. This sectarian affiliation is corroborated by the atypical depiction of the Jina’s genitalia on the underside of the sculpture.
Selected Bibliography
  • Pal, Pratapaditya. Indian Sculpture, vol.2. Los Angeles: Los Angeles County Museum of Art; University of California Press, 1988.
  • Pal, Pratapaditya; S. Andhare; J. Cort; S. Gorakshakar; P. Granoff; J. Guy; G. Larson; Stephen Markel. The Peaceful Liberators: Jain Art from India. Los Angeles: Los Angeles County Museum of Art, 1994.
  • Rosenfield, John. The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection. Boston: Museum of Fine Arts, Boston, 1966.
  • Helfenstein, Josef and Joseph N. Newland, eds. Experiments With Truth: Gandhi and Images of Nonviolence. Houston: Menil Collection, 2014.