Chola Bronze Sculptures

CHOLA BRONZE SCULPTURES
 The bronze casting technique and making of bronze images of traditional icons reached a high stage
of development in south India during the medieval period.
 The most beautiful and exquisite statues were produced during the Chola period in Tamil Nadu from
10th to 12th century AD.
 The technique of art fashioning bronze images is still skilfully practiced in South India, particularly
in Kumbakonam.
TECHNIQUES AND PROCESS OF MAKING:
• The casting process starts by preparation of the wax model of the statue.
• The overall structure, size and figure of statue is arrived based on the Agama Shastra.
• Measurements are noted using a narrow ribbon of coconut tree leaf cut to the length of the model and folded
to different lengths in proportion to the length of various parts of the model.
• Wax is a mixture of bee wax with resin and ground nut oil.
• After the wax model is dried, the fine loam or alluvial soil is applied around the model for thickness of
approximately 2.5-3cms, depending on the size of the statue and allowed to dry naturally.
• Orifices are made on the mold for pouring the molten metal and draining of the molten wax and gases formed
during casting.
• After drying another layer of mixture of clay and sand is applied, and naturally allowed to dry in the sun
light 2-3 days.Once it is dried, the mold is reinforced using a metal wires in order to avoid breakage.
• The dried mold is set on fire for melting the wax inside and the molten wax is collected using a vessel, which
can be reused, during this 50% of wax is lost. During earlier days the wax used was not collected and it used
to evaporate as fumes and gases, so the name Lost wax method.
• Simultaneously the raw metal or alloys are weighed, according to the quantity required for casting and filled
in crucibles. For bronze the ratio of copper, brass and lead are 29:2:1 Crucibles are made of special type of
mud to withstand very high temperature.
• The ratio of weight of wax and alloy required to cast the product is in the ratio of 1:8 which means if the
wax model weighs 1 kg then the casting will weigh around 8kg. Crucibles are filled with the required quantity
of the metal and placed in the furnace for melting.
• Looking at the color of the flame in the fire vent craftsmen can easily identify whether the raw metal is
molten are not.
• The normal flame is reddish yellow but the flame coming out from the molten metal is distinctively greenish
blue in color.
• After the molten wax is completely drained, the mold is moved to a new pit which is made to accommodate
the mold for casting.
• The crucible is removed from the furnace and molten metal is poured into the mold through the holes
provided.
• Molten metal is poured into the mold while the mold is still hot in order to avoid sudden cooling and breakage
of the casting.
• The casting is allowed to cool & set for 12-24 hours and mold is removed from the pit and casting is taken
out of the mold.
• The casting obtained is unfinished and further processing is required.

• The contours and details of the original wax pattern are recaptured by smoothing the uneven surfaces and
then by chiseling.
• The details of dress and ornaments as well as other final touches are engraved into the statue.
• The surface of the statue is smoothened by rubbing it with fine-grade emery paper.
• Finally, the piece is polished and packed.
Lost wax technique

 Chola period bronzes were created using the lost wax technique.[20] It is known in artistic terms as
"Cire Perdue". The Sanskrit Shilpa texts call it the Madhu Uchchishtta Vidhana.
 Beeswax and kungilium (a type of camphor) are mixed with a little oil and kneaded well. The figure
is sculpted from this mixture fashioning all the minute details. This is the wax model original.
 The entire figure is then coated with clay made from termite hills until the mould is of a necessary
thickness. Then the whole thing is dried and fired in an oven with cow-dung cakes. The wax model
melts and flows out, while some of it vapourises.
 The metal alloy of bronze is melted and poured into the empty clay-mould. This particular bronze
alloy is known as Pancha Loham. When the metal has filled all crevices and has settled and hardened
and cooled, the mould is broken off. The bronze figure thus obtained is then cleaned, finer details are
added, blemishes are removed, smoothened, and polished well. Hence each bronze icon is unique
and the mould cannot be used to create copies.
Style
 Chola bronzes are few intricate ornament in comparison with the subsequent bronzes of the
Vijayanagar and Nayaka period.
 There is gentle grace, a restrained and quiet elegance, an ethereal, out-worldly beauty, and above all
else - a life that throbs and pulsates and thereby enlivens the bronze sculpture. By means of the facial
expressions, the gestures or mudras the overall body posture and other accompanying bronzes we
can imagine the surroundings and the religious context of the figure of the god or goddess; what
instrument or weapon he or she is holding; what he or she is leaning on; and what he or she is doing
or about to do.
Nataraja, Late Chola Period, 12th CE
 The sculpture is usually made in bronze, with Shiva dancing in an

aureole of flames, lifting his left leg (and in rare cases, the right
leg) and balancing over a demon or dwarf (Apasmara) who
symbolizes ignorance.
 It is a well known sculptural symbol in India and popularly used
as a symbol of Indian culture.
 Shiva is associated with the end of the cosmic world with which
his dancing position is associated
Popular Shiva Parvati Avatars:

Ardhanarishwar with half Shiva and half Shakti is another popular image, here you see the master
craftsmanship when the limbs of the two parts are carved accordingly, the female part being smaller and
delicate. Parvati is also carved in her various avatars like Maheshwari, Durga, Kali, etc. Her most popular
avatar remains Mahishasurmardini – the one who slays the demon Mahisha. In one idol I found her wearing
a short garment on one leg and a long one on other, something that I have not seen elsewhere, a designer
idol probably.
Ganesh:
Ganesh, Murugan, and Nandi complete the Shiva family. Ganesha is depicted with a very long upper body
and short legs. Vishnu also had few idols. One that I found most amusing was in his Varaha avatar with a
Devi on his lap as he stands on a raised leg. There is a huge image of Sudarshan chakra that again looked
quite unique. Most idols stood mounted on the solid metal pedestal that had solid hooks as if to pull the idols
using ropes or to tie them up with something.
REGIONAL CRAFT:
 Swami Malai is a panchayat town near Kumbakonam in Thanjavur District. It lies on the banks of
river Kaveri and is one of the six abodes of the Lord Muruga. One group of artists called as
“Sthapati” settled in this region. Sthapati means an architect or master carpenter or builder. These
people after settling down in Swamimalai started making bronze icons. Since the time of Rajaraja
chola these sthapati are producing bronze icons which are spread all around the world.
 Sthapati’s comes under vishwakarma community. The designers and artists of the classical Indian
traditions of sculpture (stone and metal) and architecture were known as the Vishwakarma
community, whose name is mentioned in the ancient Vedas and the Puranas. In south India, the
Vishwakarma community of artisans is also known as the Kammalas.
 During the Thanjavur temple construction time Sthapati’s emerged a distinct class of craftsmen.
They are not merely stone carvers or metal workers but something more.” Their familiarity with the
Shilpa Shastras, the complex nature of metal icon production, and other religious traditions related to
their craft has elevated them beyond the rank of ordinary craftsmen.
 The Sthapathi community in Swamimalai who trace their descent back to an ancestor named Agora
Veerapathira Sthapathy from the time of the temple construction are residing in that region. Around
three hundred families are presently into bronze casting business.

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CHOLA BRONZE SCULPTURES

• The casting obtained is unfinished and further processing is required.

Lost wax technique

 The sculpture is usually made in bronze, with Shiva dancing in an

Popular Shiva Parvati Avatars:

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