Comparing Indian Art: Siva with Attendants & Siva as a Music Teacher

All Siva’s are not created equal. By comparing two images of Siva, known as “the Creator” in the Hindu religion, from two different periods of Indian history, it is obvious that the stylistic variations can appear quite broad. While one image is very formal, static and idealized, another can be intensely naturalistic and full of movement and life. Two examples of the wide diversity of style in Indian religious art can be seen at the Seattle Asian Art Museum in “Siva with Attendants” ( 11th-12th c.) and  “Siva as Music Teacher” (South India, 9-13th c.).

The overall impression given by “Siva with Attendants” is one of austere reverence for the god. The image of Siva dominates the composition, and its large size compared to the rest of the figures in the scene seems to convey its important role in the religion. The image is approximately four and a half feet tall and three feet wide, and its carved in high relief out of red sandstone. Figures are symmetrically stacked upon on another around the central image, and the top portion forms a triangular arrangement filled with other deities, including Brahma, Vishnu and other lesser gods. Once again, Siva dominates the composition as the most highly ornamented figure, while the other areas of this sculpture are much less defined or remain completely lacking in decoration.

Siva is the only figure in the greenish-brown cast bronze statue of “Siva as a Music Teacher.” This composition emphasizes movement, play of forms and natural depiction of the anthropomorphic figure. Siva stands on a twelve-inch diameter (approx.) hourglass shaped, lotiform base that is about three inches tall. The dancing figure of Siva is another twenty inches tall above the base and his four arms fill the space around it. The sculptor paid great attention to the proportion of base to figure and created an incredibly life-like pose simulating movement. Like the previous sculpture, Siva is highly ornamented with jewelry from head to toe, while the base is ornamented with a rather plain, low relief lotus design.