Dancing Balakrishna Copper Alloy Southern India, Tamil Nadu, Chola Dynasty

The child Krishna is portrayed dancing with his weight on his left leg, knee bent and toes pointing outwards, with the hips swaying to the right, the right leg raised, knee bent and toes pointing downwards. His upper body is held erect with the right arm forming a gesture of protection (abhayamudra) while the left arm is gracefully extended with the dance. His head is slightly turned to the right, which completes the energetic movement generated throughout the sculpture. His foot rests on a lotus pad set onto a square pedestal with loops at the side for processional purposes. He does not wear any clothes but is adorned with numerous items of jewelry including a girdle of bells (kinkini), an elaborate necklace, armbands and anklets. His hair is arranged in small curls around his forehead rising to form a tall chignon decorated with strings of beads and the conventional roundel at the back.  His face has a charming and happy expression.

William H. Wolff, New York, 1972.

Munsterberg, Hugo; Art of India and Southeast Asia, New York, 1970, pp.140 - 141.

The Chola dynasty produced some of the most remarkable sculptures in the history of Indian art. Made from the cire perdue or lost-wax technique the detailing can be quite spectacular and this bronze is a superb example. Images of Balakrishna dancing were extremely popular during this period and as with dancing Siva figures the emphasis is on the rhythmic movement of the body and graceful balletic gestures. Furthermore bronzes of this type exemplify the fact that traditionally dance is of considerable importance to worship and culture in India. Compare: Dehejia, V.; The Sensuous and The Sacred; Chola Bronzes from South India, New York, 2002, pp. 198 – 199, Fig. 51.

Included in this lot is Art of India and Southeast Asia, Hugo Munsterberg, New York, 1970, in which this work is published.