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Collections

Unknown
The Hindu Saint Chandikeshvara1645-1815

Not on view
Bronze sculpture of a standing four-armed figure with dark green patina, tall crown, joined palms at chest, on a lotus and stepped square base
Bronze sculpture of a standing four-armed deity with tall crown, hands joined at chest in anjali mudra, wearing ornamental jewelry and a carved dhoti, mounted on a lotus pedestal with stepped base, dark patinated surface with fine detailing throughout.
Bronze sculpture of a standing deity in añjali mudrā, hands pressed together at chest level, wearing an elaborate crown, jewelry, and a lower garment with incised detail, mounted on a lotus-petal base with a square plinth, dark patinated surface.
Artist or Maker
Unknown
Title
The Hindu Saint Chandikeshvara
Place Made
India, Tamil Nadu
Date Made
1645-1815
Medium
Copper alloy
Dimensions
16 1/2 x 5 x 4 3/8 in. (41.91 x 12.7 x 11.11 cm)
Credit Line
Gift of Eivor and Dr. Alston Callahan, Birmingham, Alabama
Accession Number
M.84.216
Classification
Sculpture
Collecting Area
South and Southeast Asian Art
Curatorial Notes

The Hindu saint Chandikeshvara (also known as Chandeshvara or Chandesha) was one of the sixty-three Nayanars (or Nayanmars; “teachers of Shiva”), who were Shaiva saints in Tamil Nadu in the 6th-8th centuries. His birth name was Vicharasarman (or Visarasarman). When he was a young boy, after observing that his family’s cows were being unattended, he began to care for the cows himself. The cows then began to produce extra milk, which he used to bathe a Shivalinga made of sand. When his father Datta discovered that the boy was inappropriately wasting the milk in this fashion, he scolded him and kicked the sand linga. In retaliation, Vicharasarman struck his father’s leg with a staff, which turned into an axe and severed the limb. Shiva then appeared, blessed the boy, and restored the father’s leg.

Chandikeshvara has an ascetic’s piled hair (jata mukuta) with two long ponytails draped over his shoulders. He is heavily ornamented and wears a short dhoti. He stands in a stiff, frontal pose (samapada sthanaka) on a double lotus base. His hands are held in the gesture of adoration (anjali mudra) and he carries an axe (parashu) in the crook of his left arm.

Although the bronze was previously attributed to the 13th century (Pal 1988, pp. 283-284, no. 151), a thermoluminescence test of the core indicates that it was created in 1645-1815.

Selected Bibliography
  • Pal, Pratapaditya. Indian Sculpture, vol.2. Los Angeles: Los Angeles County Museum of Art; University of California Press, 1988.
  • Pal, Pratapaditya; Dehejia, Vidya; Slusser, Mary Shepherd; Fisher, Robert E.; Brown, Robert L. Arts of Asia 15 (6): 68-125 (November- December 1985).