Standing Buddha, gilt copper alloy, Nagapattinam, south India, 11th-12th century

A standing figure with the right hand in abhaya mudra, a gesture of reassurance, and the left holding the hem of the garment. The robe or sanghati covers both shoulders and clings tightly to the flesh, hanging cloak-like at the sides in stylised folds characteristic of the North Indian (Pala) school. The usnisa is composed of a northern-style proturberance superimposed by the southern-style flame. The urna is a southern type, resembling an inverted question mark. The hands have conventional palm-marks on a circular lotus-pedestal with holes for securing the image while being carried in procession.
This sculpture is one of the finest Buddhist bronzes to survive from South India. Buddhism came early to Southern India, as recorded by the 3rd century BC inscriptions of the Emperor Asoka. The region continued to be a centre of Buddhist learning as late as the 12th century, despite the growing dominance of Hinduism. Cities such as Nagapattinam attracted royal endowments not only from the local Chola dynasty but also from overseas kingdoms, such as the Sailendra rulers of Java. Buddhist scholars were widely attracted and generous patronage provided for the creation of numerous Buddha images.

In the style of Nagapattinam, Tanjavur District, Tamilnadu, south India
One of three objects loaned from Mr Stodart in 1917

Nagapattinam, Tanjavur district, Tamilnadu, south India

This sculpture is one of the finest Buddhist bronzes to survive from south India. The Buddha stands on a circular double-lotus pedestal, with holes for securing the image during processional use.

He gazes outward at the viewer, with his right hand gesturing protection (‘abhaya-mudra’). His monastic robe (‘sanghati’) covers both shoulders. It clings tightly to his body and forms stylised folds at the hem, in a manner characteristic of the eastern Indian Pala style.

The figure displays a number of the auspicious marks (‘laksanas’) denoting Buddha-hood. These include the skull protruberance (‘usnisa’) which has a flame projection - a southern-style motif. The forehead mark (‘urna’) is of the southern ‘hair-curl’ type, resembling an inverted question mark, and the hands have conventional palm markings.

This figure is in the style closely associated with the port city of Nagapattinam, coastal Tamilnadu. The Buddhist monastic complex there was the largest in medieval south India. It received generous patronage, as witnessed by over 350 bronze images that have been excavated or found by chance in the vicinity of the vihara and surrounding region.

IPN.2639