New
Brahma, marble, India, 19th century.
600,00 zł
Marble sculpture depicting Brahma – the Hindu creator god and personification of cosmic wisdom, belonging to the Trimurti trinity alongside Vishnu and Shiva. The deity has four faces (Caturmukha), which, according to iconography, should face the four sides of the world. In the case of the sculpture on offer, the representation is simplified and the faces are laid out in an arc against a smooth, semicircular wall (stele) from which the figure emerges – two to the left of the central face and one to the right. They symbolize omniscience and the four Vedas, the oldest sacred texts of Hinduism. The figure is depicted in a seated position with one leg on the ground and the other placed on the seat, perpendicular to the body. Brahma has two pairs of hands, in keeping with classical iconography. One pair of hands rests on his knees. In his hand, the deity holds a sphere, interpreted as a symbol of the earth or the entire cosmos and referring to the act of creation and the order of the world. The other pair of hands is raised to shoulder height and holds other attributes, but due to the simplified form their identification is uncertain. The whole work is characterized by a compact body and simplicity of form, sparing details, which gives the work an austere character.
Dimensions: 24 cm (height) x 15 cm (width) x 7 cm (depth)
Weight: 4.75 kg
1 in stock
Description
In the Hindu tradition, Brahma, as the first god of the great Trimurti triad, personifies the supreme intellect, the act of creation and the cosmic order. Although the sculpture on display treats his four faces in a simplified and synthetic manner, their meaning remains the same. They symbolize the four sides of the world, the four Vedas and the four states of human consciousness, from java to the state of pure spirit. The sphere held in the deity's hand relates directly to the myth of the creation of the world and the Vedic concept of Hiranjagarbha, or Cosmic Egg, from which the universe emerged. It represents complete control over matter and the order of the universe. The raised pair of hands, on the other hand, despite the blurred details, alludes to the classical attributes of Brahma, such as the vessel with the water of life, the prayer rope signifying the cyclical nature of time or the sacrificial spoon, which together symbolize wisdom, ritual and spiritual discipline.
Additional information
| Weight | 4,75 kg |
|---|---|
| Dimensions | 24 × 15 × 7 cm |
| Type |
Sculpture |
| Form |
Semi-plastic figure sculpture |
| Materiał |
Marble |
| Kolorystyka |
White-Gray |
| Technika |
Carving |
| Czas powstania |
XIX century. |
| Kraj pochodzenia |
India |
| Autor |
Unknown |
| State of preservation |
Very Good. Sculpture without major losses, with slightly rubbed details |
Related products
Bust of Krishna, marble, India, 19th century.
The sculpture depicts a bust of the deity, identified as Krishna - one of the most popular incarnations of the god Vishnu. The figure is characterized by idealized facial features with a gentle, meditative expression. The delicate, barely defined smile (so-called archaic) and wide, almond-shaped eyes with well-defined eyebrows are typical of Rajasthani art. The proportions convey the youthful grace of the deity (bala-rupa). The deity's head is adorned with a tall, richly carved Kiritamukuta-type crown. It consists of several tiers: a lower band imitating a string of pearls or beads, a middle band with a braided motif, and a finial with floral, rosette-like decorations. On the left profile of the crown (just above the ear) a vertical carved element is visible. It is a stylized peacock feather (Mayur Pankh) - a key and unique attribute of Krishna, symbolizing the beauty of creation and divine royalty. The figure's neck is adorned with a wide, close-fitting necklace (kanthamala). Thick, stylized strands of hair fall from the sides of the head, and traditional large earrings (kundala) are visible in the ears.
Dimensions: 23 cm (height) x 13 cm (width) x 12 cm (depth)
Weight: 5 kg
Capital with Figural Decoration, Sandstone, France, 12th-14th Century
Cylindrical stone capitol, decorated with carved representations of male faces with mustaches and nude female figures. The top edge decorated with a band of ornaments. The interior is deeply grooved. The surface of the object bears clear traces of use - deposits and wax residues are visible. The style of the sculpture refers to Romanesque or early Gothic architecture.
Gallo-Roman sculpture of the head of Eros (?), marble, 1st-3rd century A.D.
Full-plastic head sculpture made of white marble, facial features treated quite schematically except for the characteristic almond-shaped eyes and "Gioconda's smile." The nose is flat, the hair reaching the neck, wavy around the line of the face, at the back the hairstyle treated schematically. The shape of the neck from underneath allows us to conclude that the head was originally part of a larger composition. The sculpture is placed on a custom-made, two-stage pedestal of black marble.
Ganesha, marble, India, 19th century.
Full-plastic sculpture depicting the god Ganesha - one of the most important deities of the Hindu pantheon, removing all obstacles and patronizing new beginnings. The deity is shown in the traditional hieratic seated position of the Lalitasana type (position of royal relaxation), in which the bent, left leg rests flat and the right leg is lowered down, resting with the foot on the ground. This arrangement in Indian iconography symbolizes the perfect balance between the spiritual world and earthly activity. The figure is characterized by a rounded belly signifying prosperity and abundance. The entire composition is set on an integral, massive plinth (base) with an austere rectangular design. The right hand is raised in the symbolic gesture of abhaya mudra (a gesture of care and dispelling of fear). In his left hand resting on his knee, the deity holds the traditional modaka sweet, which is his attribute. This is the deity's favorite sweet and symbolizes the supreme sweetness of spiritual enlightenment, pure wisdom and the inner joy that awaits a person after overcoming all of life's obstacles and one's own ego. Ganesha's head is crowned by a tall mukut-type crown with a radial linear ornament, and the structure is capped by a large nimbus merged with the throne backrest. The sculpture has a damaged nimbus, trunk and part of the face.
Dimensions: 22.5 cm (height) x 15.5 cm (width) x 8 cm (depth)
Weight: 2.9 kg
Romanesque figural capital, sandstone, France, 12th century.
Authentic Romanesque architectural capital made of sandstone, originating in France and dating to the 12th century (ca. 1100-1170). Figuratively elaborated on three sides, it was originally an architectural element probably associated with a cloister, arcade or church interior, set against a wall or pillar.
The decoration is made up of stylized human masks joined by an ornamental motif of a floral-zoomorphic nature, typical of Romanesque monastic sculpture of the 12th century. The faces with narrow, almond-shaped eyes represent an archaizing style characteristic of mature Romanesque sculpture before the spread of more realistic Gothic forms.
The sculptural form, the manner of elaboration of the relief and the integration of figural motifs with ornament show connections with the workshops of southern and central France, especially the Languedoc, Auvergne or Burgundy circle.
Dimensions: 23 cm (height) x 17.5 cm (width) x 14 cm (depth); with pedestal, 29 cm high.
Singa Barong, polychrome wood, Indonesia, 19th century.
A striking polychrome wood sculpture depicting Singa Barong - a mythical winged lion, known from Balinese and Javanese traditions. The creature is shown in a watchful position, sitting on an ornate base with its mouth open and teeth bared. The figure's appearance is completed by its distinctive bulging eyes, curled tail and mane. Its body is covered with linear motifs resembling tattoos, its breast is adorned with a wide necklace and its front paws with bracelets. The sculpture was most likely associated with a protective function, both in temple and domestic spaces.
St. Augustine reliquary with Ex Ossibus relic, polychrome wood, gilded, Italy, 18th century.
An expressive figural sculpture depicting a half-figure of St. Augustine in episcopal vestments, with a heart in his hand. The sculpture is the finial of a console in which was placed a relic of the first class (Ex Ossibus), described "S. Augustini", protected by an intact church seal. The work of polychrome and gilded wood, made in the 18th century, in an Italian workshop, representing a good artistic level.