Northeastern India or Bangladesh, 11th-12th century. The elephant-headed deity expressively carved dancing atop a double-lotus base supported by a plinth, eating sweets from a small bowl in his hand, his other arms radiating around him and holding various attributes. Clad in a revealing robe and dhoti with neatly incised patterns. A cluster of mangoes and two apsaras above as well as two musicians and his rat below, all backed by a foliate mandorla. Provenance: Collection d’un Grand Amateur, France. Acquired in the Belgian art market. Condition: Excellent condition with some losses to exposed areas, structural cracks, nicks and scratches, extensive wear, signs of weathering, soil encrustations. Overall fully commensurate with the high age of the present lot. Solid natural patina. Weight: 7.1 kg Dimensions: Height 38.2 cm (incl. stand) and 35.8 cm (excl. stand) Note the finely carved and incised face, with three almond-shaped eyes and large ears veined like lotus leaves. Ganesha, the son of Shiva and Parvati, is known as the giver of counsel and remover of obstacles for humans and deities alike. Although his elephant-headed form lends a playful quality, Ganesha's significance is profound. As overseer of the relationship between past, present, and future, Ganesha maintains balance in the universe. He is typically worshipped at the beginning of rituals. Known in India for his youthful cleverness and predilection for pranks, Ganesha is frequently depicted dancing or standing in tribhanga. According to legend, Ganesha took on his elephant-headed form when he was a little boy. While Shiva was out, Parvati wanted to bathe but had no one to guard the door. She fashioned a little boy with her hands and instructed him to mind the entry to the bathing area and not permit anyone inside. When Shiva returned home and found an unknown boy refusing him entry, the angered god cut off the boy’s head without asking further questions. Emerging from her bath, Parvati was dismayed to see what had transpired. She commanded Shiva to revive the son she had created by appending the head of the first being who walked by. When an elephant soon passed, Shiva removed its head and attached it to the body of the boy, thus bringing him back to life as the elephant-headed deity known as Ganesha. With an associated metal stand. (2) Literature comparison: Compare a similar example, except for Ganesha dancing on a rat, from the former collection of Nasli M. Heeramaneck, in A. Heeramaneck, Masterpieces of Indian Sculpture, 1979, cat. no. 124. Auction result comparison: Compare a closely related black stone stele of Ganesha, also dated to the Pala period (12th century), of 58 cm, at Christie’s New York in Indian and Southeast Asian Art on 16 September 2008, lot 373, sold for USD 104,500.
Northeastern India or Bangladesh, 11th-12th century. The elephant-headed deity expressively carved dancing atop a double-lotus base supported by a plinth, eating sweets from a small bowl in his hand, his other arms radiating around him and holding various attributes. Clad in a revealing robe and dhoti with neatly incised patterns. A cluster of mangoes and two apsaras above as well as two musicians and his rat below, all backed by a foliate mandorla. Provenance: Collection d’un Grand Amateur, France. Acquired in the Belgian art market. Condition: Excellent condition with some losses to exposed areas, structural cracks, nicks and scratches, extensive wear, signs of weathering, soil encrustations. Overall fully commensurate with the high age of the present lot. Solid natural patina. Weight: 7.1 kg Dimensions: Height 38.2 cm (incl. stand) and 35.8 cm (excl. stand) Note the finely carved and incised face, with three almond-shaped eyes and large ears veined like lotus leaves. Ganesha, the son of Shiva and Parvati, is known as the giver of counsel and remover of obstacles for humans and deities alike. Although his elephant-headed form lends a playful quality, Ganesha's significance is profound. As overseer of the relationship between past, present, and future, Ganesha maintains balance in the universe. He is typically worshipped at the beginning of rituals. Known in India for his youthful cleverness and predilection for pranks, Ganesha is frequently depicted dancing or standing in tribhanga. According to legend, Ganesha took on his elephant-headed form when he was a little boy. While Shiva was out, Parvati wanted to bathe but had no one to guard the door. She fashioned a little boy with her hands and instructed him to mind the entry to the bathing area and not permit anyone inside. When Shiva returned home and found an unknown boy refusing him entry, the angered god cut off the boy’s head without asking further questions. Emerging from her bath, Parvati was dismayed to see what had transpired. She commanded Shiva to revive the son she had created by appending the head of the first being who walked by. When an elephant soon passed, Shiva removed its head and attached it to the body of the boy, thus bringing him back to life as the elephant-headed deity known as Ganesha. With an associated metal stand. (2) Literature comparison: Compare a similar example, except for Ganesha dancing on a rat, from the former collection of Nasli M. Heeramaneck, in A. Heeramaneck, Masterpieces of Indian Sculpture, 1979, cat. no. 124. Auction result comparison: Compare a closely related black stone stele of Ganesha, also dated to the Pala period (12th century), of 58 cm, at Christie’s New York in Indian and Southeast Asian Art on 16 September 2008, lot 373, sold for USD 104,500.
.jpg "Quelle: Christie's")
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.jpg "Quelle: Christie's")
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