10200

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    Indian Inscribed Ascetic’s Hanuman Pectoral Plaque Pendant

    Maharashtra or Karnataka, India
    circa 18th century

    height: 21.1cm, width: 18.4cm, weight: 409g

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    Provenance

    UK art market

    This particularly fine and open example of an ascetic’s pectoral pendant plaque is cast in brass with a large central figure of Hanuman, the celestial monkey army chief and follower of Rama.

    The reverse (on the back of the cobra’s hood) is inscribed with six lines of text, probably Telugu script. This is the first time we have seen an inscribed Hanuman pectoral pendant.

    The plaque recalls an episode in the Indian Ramayana epic when Hanuman flew through the air to bring flesh-healing, medicinal herbs (sanjivani buti) to the wounded Rama and his army. (The leafy herbs can be seen in Hanuman’s left hand and rising from his waist.)  The small figure below Hanuman’s feet could be Lakshmana, the brother of Rama, who was also wounded. Or the figure could be a demon about to be trampled.

    Images of Hanuman often appear on small amulets because of their protective properties, but this large medallion-like pectoral plaque would have been worn by ascetic devotees of Hanuman in Maharashtra or Karnataka states in western India. It has a lug on the back to allow suspension from the neck, though this is now broken.

    The outer frame serves as a circular mandala and represents stylised flames (prabhavala). At the top of the plaque is a seven-headed hooded cobra which hovers over Hanuman’s image to protect it, and on either side are two stylised long-tailed parrots. Just beneath the cobra’s hood is a small image of Rama.

    Hanuman wears a pair of elevated paduka shoes, a dhoti with a long fish-tail sash, a low cap, and a dagger on his waist.

    The plaque has been cast by the lost wax process. It is more ‘open’ than most examples. The contours have been now smooth from wear and use. There are several old breaks here and there but the structure is stable. The age, ‘openness’ of the work, and inscription make this a particularly interesting example.

    References

    Aryan, S. & B.N. Ayran, Unknown Masterpieces of Indian Folk and Tribal Art, KC Aryan’s Home of Folk Art, 2nd & enlarged ed., 2016.

    Dursum, B., et alChange and Continuity: Folk and Tribal Art of India, Lowe Art Museum, University of Miami, 2004.

    Untracht, O., Traditional Jewelry of India, Thames & Hudson, 1997.

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