Central Asia, India, Uttar Pradesh, Mathura, ca. 5th to 6th century CE. An elegant relief panel hand-carved from red sandstone which portrays a pair of divinities riding atop a mythical elephant-like creature known as a "makara." The makara is traditionally shown as a half-elephant, half-crocodilian sea creature and is used as a vehicle for the gods (or "vahana") to travel over large bodies of water. Some depictions of the makara, however, more closely resemble a quadruped elephant with a lengthy trunk, bared tusks and teeth, a stocky body, and a fiery tail as is the case with this example. The faded bodies of the two divinities make their identification difficult to discern, though it is evident they are holding offerings to perhaps a more powerful deity in their hands. Facing right and portrayed in high relief within a rectangular panel, this is a beautiful and finely-sculpted work of art from ancient India! Custom museum-quality display stand included. Size: 10.25" W x 9.25" H (26 cm x 23.5 cm); 10.875" H (27.6 cm) on included custom stand.
The depiction of animals as vehicles is one of great significance steeped in Hindu mythology. All manner of animals were not merely creatures that roamed the earth without responsibility; when called upon, they were employed as "vahanas," spiritual mounts or vehicles used to transport the many deities from realm to realm. For example, "the Brhatsamhita mentions such vahanas as a peacock for Kartikeya, a white four tusked elephant for Indra, a buffalo for Yama, a swan for Varuna, and so on." (Ganguli, Kalyan Kumar. "The Concept of Vahana in Indian Iconography." Proceedings of the Indian History Congress, vol. 28, 1966, p. 107., www.jstor.org/stable/44140400) The goddess Kali is said to have used a majestic black goat for her mount, and goats are still sacrificed in her honor in India to this day.
Provenance: private East Coast, USA collection; ex-William Froelich collection, New York, USA, acquired between the 1960s and 1970s
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#137734
Condition
This item is a fragment of a larger relief panel. Surface wear and abrasions commensurate with age, nicks and losses around peripheries and to some interior details, fading to some finer figural details, some light encrustations, and roughness across most surfaces. Verso is rough from separating from larger stone panel. Nice earthen deposits throughout. Two holes drilled through verso for mounting.