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Lot Essay
This particular type of door guardian is associated with Shiva. The present example emphasizes the ascetic aspect of Shiva in particular. The dvarapala wears a belt made of rudraksha seeds and has a voluminous coiffure which indicates the mane of matted locks let partially loose. Although dvarapalas typically guard the doorway to sanctums that contain a linga (non-anthropomorphic symbol of Shiva), this dvarapala image strongly calls to mind the figure of Shiva as Bhikshatanamurti, the mendicant yogi who wanders in the forest enchanting the forest-dwelling girls with his tremendous beauty. Bhikshatana is a particularly popular icon in South Indian art of the Chola period, and he is featured in stone and bronze sculpture along with figures of other forms of Shiva and his family. For further discussion of dvarapala typologies in Tamil art, see Michael Lockwood, Pallava Art, Madras, 2001.
Whereas in subsequent centuries figures of door guardians in South India would become increasingly fearsome, prior to the eleventh century they maintain a benign appearance that characterizes them more along the lines of open-eyed watchmen for the gods, rather than as fierce protectors. Despite his casual stance, garland of flowers (rather than snakes), and relatively docile face, the heavy club encircled by serpents at his side together with his wild hair and the suggestion of sharpened teeth indicates that if danger should approach, the guardian would indeed be a force to be reckoned with.
Closely affiliated with the gods as they were, whether peaceful or ferocious in appearance dvarapalas are warrior-like figures that were prominently displayed at the entrance to temples, and thus they were heralded as precious trophies during times of battle. Carried back to the victor's royal capital, dvarapalas from distant places were installed in temples to display the ruler's power and supremacy. Simply transporting so massive an object would have been an accomplishment on its own. Battles therefore facilitated the circulation both of artworks and artistic styles. Artists in local ateliers were exposed to examples of sculptures brought from distant places, and they at times incorporated some of the foreign stylistic features into their works. The present example has elements that align it more closely with Chalukyan sculpture than with Tamil dvarapalas of the same period. The particular arrangement of the hair, the facial features, and the way in which the tightly woven flower garland traverses the upper chest reveal at least Chalukyan influence if not Chalukyan production.
Whereas in subsequent centuries figures of door guardians in South India would become increasingly fearsome, prior to the eleventh century they maintain a benign appearance that characterizes them more along the lines of open-eyed watchmen for the gods, rather than as fierce protectors. Despite his casual stance, garland of flowers (rather than snakes), and relatively docile face, the heavy club encircled by serpents at his side together with his wild hair and the suggestion of sharpened teeth indicates that if danger should approach, the guardian would indeed be a force to be reckoned with.
Closely affiliated with the gods as they were, whether peaceful or ferocious in appearance dvarapalas are warrior-like figures that were prominently displayed at the entrance to temples, and thus they were heralded as precious trophies during times of battle. Carried back to the victor's royal capital, dvarapalas from distant places were installed in temples to display the ruler's power and supremacy. Simply transporting so massive an object would have been an accomplishment on its own. Battles therefore facilitated the circulation both of artworks and artistic styles. Artists in local ateliers were exposed to examples of sculptures brought from distant places, and they at times incorporated some of the foreign stylistic features into their works. The present example has elements that align it more closely with Chalukyan sculpture than with Tamil dvarapalas of the same period. The particular arrangement of the hair, the facial features, and the way in which the tightly woven flower garland traverses the upper chest reveal at least Chalukyan influence if not Chalukyan production.