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Sculptures > Brass > Large Size Celestial Nymph Playing on Vina
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Large Size  Celestial Nymph Playing on Vina

Large Size Celestial Nymph Playing on Vina

Large Size Celestial Nymph Playing on Vina

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Brass

53.0" X 18.0" X 18.0"
56 Kg
Item Code:
ET64
Price:
$1795.00   Shipping Free - 4 to 6 days
This item can be back ordered
Time required to recreate this artwork: 4 to 6 weeks
Advance to be paid now (% of product value): 20%
Balance to be paid once product is ready: 80%
The amount to be tendered as advance to back order this artwork: $359.00
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Viewed 11989 times since 4th Jul, 2015
This exceptionally beautiful statue represents an as much beautiful maiden endowed with unearthly beauty, perhaps an Apsara – celestial nymph, from the court of Indra, the king of gods, Menaka, Urvasi, Purvachitti or any, a courtesan from a medieval court, or a ‘Devadasi’ : servant of gods, in a temple, certainly not a princess or elite, playing on her ‘vina’ – stringed musical instrument, for the delight of gods, or men, not ‘swanta-sukhay’ – for her own delight. Playing on a relatively heavier instrument like ‘vina’ in standing position is not a ‘swanta-sukhay’ mode or a princess’s or elite’s way. Her mode, as also the stoical bearing on her face, strongly suggest that she is performing for others, though the divine melody that her ‘vina’ is emitting is capable of enchanting the entire ambience and, its part, it also effects her.

Cast in fine brass the statue is the model of the supreme feminine beauty. A tall figure, every part conceived with standards of divine anatomy and iconography in mind : broader hips, subdued belly with further recessed navel, sensuously modeled breasts protruding farther than the face-level, long arms with fine long fingers, shoulders as wide as the breadth the hips, elegantly cast neck with mild folds, round face and broad forehead, the statue represents a divine form. This tempting anatomy apart, her face has been as much sensuously conceived. Her eyes, large and mesmeric, contained within the partially slanting eyelids, and elegantly trimmed eyebrows, reveal life in them, something not seen in sculptures, cast or chiseled, old or contemporary. Mildly inflated glowing cheeks, well aligned protruding chin, and sharp pointed nose create in between them a subdued space that the nymph’s beautifully shaped sensuously tempting lips occupy.

The image of the nymph has been installed on a high three-tiered lotus pedestal. Its base is hexagonal while the rest two tiers are circular. The base consists of three hexagonal mouldings, that on the bottom, a plain one, above it a fluted and elegantly chamfered one, and on the top of this base-structure is a thin plain moulding. The middle consists of a beautifully turned circular moulding with good height on which rises a large inverted lotus which houses in its centre an elevated circular platform which installs the image. Every part of the image has been lavishly adorned with a wide range of ornaments : exquisitely dressed and ornamented hair, distinctly designed ear-ornaments, a magnificent variety of necklaces on breasts, ornaments for shoulders, exclusively designed arms-bands, bangles, rings, laces for adorning belly, exquisite girdles, ornaments for foot and laces of pearls used for lining the ‘antariya’. A beautifully pleated and richly adorned ‘antariya’ and a sensuously conceived ‘stana-pata’ – breasts-band, apexes conceived with floral motifs emphasizing the breasts’ swelling, comprise the figure’s ensemble.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.


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