Jnana Dakshinamurti Ivory India

Spink and Son, Ltd., London, 1970s

Stable overall condition. Fragmentary with cracking and minor accretion throughout, as visible in catalogue illustration. No restoration.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Seated in a mountain setting beneath the banyan tree, his lowered right foot on the dwarf of ignorance, a bull reclining below together with standing rishi, and seated rishi with hands held in prayer at rear, the base of the pedestal carved with rounded lotus petals.

This rare and early carving depicting Shiva as a personification of grace and wisdom is now much worn through ritual use, yet retains a commanding presence with the unique allure of aged ivory: red staining on the smoothed heads of the rishi surrounding the rear of the circular base is a telltale sign of the worship that has contributed to the ivory's present appearance.

The iconography of Dakshinamurti is popular mainly in southern India, where temple images are often placed facing south in the literal translation of Dakshina, south facing image, see P. Pal, Indian Sculpture, Vol. II, Los Angeles, 1988, p. 264. For similar iconography in a 14^th/15^th century copper alloy sculpture, see ibid, p. 266, pl. 139b.

Ivory has been carved for highly prized commissions in India for millennia, by Buddhist sponsors in 2^nd century Begram and Kashmir in the 8^th century, by princes of mediaeval Orissa and the Muslim sultanate. The white colour of ivory represents purity and enlightenment, the very essence of Dakshinamurti whose iconographic colour is also white. These factors may have influenced the donor in his choice of ivory for this rare commission.