South India, 9^th-13^th century. Superbly cast as a dancing Shiva and Parvati, each atop a double lotus base supported on a rectangular plinth with circular and rectangular apertures. The Lord of Dance performing Ananda Tandava, balancing atop of a dwarflike figure, his consort, Parvati, performing Lasya, joyously dancing and balancing on one leg with one arm outstretched.

Provenance: SS Raghavachari, Vepay (Vepery), Madras, India, 29 March 1954. Mary Mark Merrill, acquired from the above (purchased for USD 2,000 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing). Taj (née Merrill) Gilligan, acquired from the above in the early 1980s. The present lot is accompanies by a copy of the original agreement of sale between SS Raghavachari, resident of Sambanda Vilas, Vepay Madras, South India, and Mary Mark Merrill, Washington, United Kingdom, dated 29 March 1954, with a photograph of the present lot; a copy of the correspondence between Leslie Olmstead Merrill and his mother, dated 12 April 1954, detailing his travels in South India with his wife Mary and their purchase of the present lot; a copy of an appraisal from Wallace Thompson, noted patron of the Asian Art Museum, San Francisco, dated 20 October 1974, stating the value of the present lot as USD 20,000 or approx. EUR 113,000 (converted and adjusted for inflation at the time of writing); and a copy of a provenance statement written and signed by Taj Gilligan, dated 15 July 2023. Mary Mark Merrill was the daughter of real estate and broadcasting tycoon LeRoy Mark, who established the American Broadcasting Corporation (ABC). She married Leslie Olmstead Merrill, professor of Fine Arts at the University of Colorado, in March of 1953. The pair decided to travel the world in 1954, starting in Japan and eventually finding their way to India. Patrons of Asian arts, their love of India never waned, to the extent that they named their daughter Taj.
Condition: Good condition with extensive natural wear, both from weathering and centuries of worship. Expected casting irregularities. Losses, cracks, nicks, scratches, all commensurate with age. The base somewhat warped in areas. Obvious heat damage, probably from a temple fire that happened long time ago. Overall displaying exceptionally well.

Weight: 135.5 kg
Dimensions: Height 114 cm, Width 91 cm

Ananda Tandava (masculine) dance to express happiness and joy is performed by Lord Shiva, while goddess Parvati is performing Lasya (soft/ feminine) offering a balance of cosmic energies — the male and the female. Together they symbolize the harmonious union of energies without which the universe would be in a state of flux.

As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva’s role as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear). The dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray). Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. These symbols imply that, through belief in Shiva, his devotees can achieve salvation.

Literature comparison:
Compare a related bronze group of Shiva and Parvati, dated c. 950-960, in the Cleveland Museum of Art, accession number 1961.94. Compare a related bronze group of Shiva, Uma, and Skanda (Somaskandamurti), 53 cm high, dated to the early 11^th century, in the Metropolitan Museum of Art, accession number 1982.220.10.