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JSTOR is a not-for-profit service that helps scholars discover, use, and build upon a wide range of content in a trusted digital archive. The Smithsonian Institution and Regents of the University of Michigan are collaborating with JSTOR to digitize, preserve and extend access to ars orientalis.
JSTOR is a not-for-profit service that helps scholars discover, use, and build upon a wide range of content in a trusted digital archive. The Smithsonian Institution and Regents of the University of Michigan are collaborating with JSTOR to digitize, preserve and extend access to ars orientalis.
JSTOR is a not-for-profit service that helps scholars discover, use, and build upon a wide range of content in a trusted digital archive. The Smithsonian Institution and Regents of the University of Michigan are collaborating with JSTOR to digitize, preserve and extend access to ars orientalis.
The Very Idea of a Portrait Author(s): Vidya Dehejia Reviewed work(s): Source: Ars Orientalis, Vol. 28, 75th Anniversary of the Freer Gallery of Art (1998), pp. 40- 48 Published by: Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan Stable URL: http://www.jstor.org/stable/4629529 . Accessed: 05/03/2013 16:31 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . The Smithsonian Institution and Regents of the University of Michigan are collaborating with JSTOR to digitize, preserve and extend access to Ars Orientalis. http://www.jstor.org This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions l | | l W W ! , , g j j i S z? . tU. W ........ Zz -: . :;. ; . .;: . ; * .i : .?: . :: :: . :: . :.6:.:: . :.... . . . i ; : i ...:. *: . .: . , . This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions VIDYA DEHEJIA T h e Ve r .y Id e a o f a P o r tr a i t A S LENDER, P OIS ED IMAGE o f a se nsuo us f e ma l e , f l a wl e ssl y ca st i n br o nze a nd i d e nti - f i e d f o r ma ny y e a r s a s a n i ma g e o f th e g o d - d e ss P a r va ti , sta nd s a me te r h i g h o n a pe d e sta l wi th i n th e Fr e e r Ga l l e r y o f Ar t (f i g . 1). S o me ti me a g co , I pr o - po se d th a t th e i ma g e ma y be r e a d wi th e qua l va l i d i ty a s a po r tr a i t o f th e Ch o l a que e n S e mbi y a n Ma h a d e vi , i d e a l i ze d a s d i vi ni ty a nd po r tr a y e d i n th e g ui se o f a g o d d e ss. T h i s bl ur r i ng a nd a ppa r e nt o ve r l a ppi ng o f th e ca te g o r i e s o f d i vi ne a nd r o y a l po r tr a i tur e h a s l e d me to e xpl o r e i n th i s e ssa y th e i d e a o f po r tr a :i tur e i n e a r l y Ind i a i n a n a tte mpt to a na l y ze i ts sta tusa n(d va l ue . A r e ve a l i ng co mme nta r y o n th e Hi nd u co nce pt o f po r tr a i tur e i s co nta i ne d i n a n a nci e nt S a nskr i t pl a y ti tl e d P r a ti ma i -na i ta ka (S ta tue -pl a y ), wr i tte n by f o ur th -ce ntur y d r a ma ti st Bh a sa a nd str uctur e d l o o se l y a r o und th e sto r y o f Ra ma . In i ts th i r d a ct, wh e n pr i nce Bh a r a ta , y o ung e r br o th e r o f e xi l e d Ra ma , r e tur ns to h i s h o me to wn, a s y e t una wa r e o f tl l e r e ce nt d e a th o f h i s f a th e r Ki ng Da sa r a t;h a , h e ma r ve l s o ve r th e e xe cuti o n o f th e scul pte d i ma g e s i n a ne wl y co nstr ucte d pa vi l i o n. W o nd e r i ng wh e th e r i ts f o ur f i g ur e s r e pr e se nt d e i ti e s, h e pr e pa r e s to bo w to th e m, upo n wh i ch th e ke e pe r i nf o r ms h i m th a t h e i s i n a n a nce str a l ch a pe l a nd th a t th e i ma g e s r e pr e - se nt h i s f a th e r , g r a nd f a th e r , g r e a t-g r a nd f a th e r , a nd g r e a t-g r e a t-g r a nd f a th e r .' If th e a ud i e nce o f th i e pl a y d i d no t r i d i cul e Bh a r a ta f o r f a i l i ng to r e co g ni ze th e FIG. 1. Id e a l i ze d P o r tr a i t o f Que e n S e mbi y a n Ma h a d e vi a s P a r va ti , Ch o l a pe r i o d , ca . 998, br o nze , 36 ?4 i n. Co ur te sy Fr e e r Ga l l e r y o f Ar t, S mi th so ni a n Insti tuti o n, F29.84. i ma g e o f h i s o wn f a th e r , i t ca n o nl y be be ca use , i n th e a cce pte d sty l e o f th e d a y , po r tr a i t i ma g e s we r e a l wa y s scul pte d to be a r a g r e a te r r e se mbl a nce to i m- a g e s o f th e g o d s th a n to th e i r a ctua l co unte r pa r ts. Al th o ug h l i ve l y a nd i nd i vi d ua l i sti c f i g ur e s o f te n a p- pe a r i n g e nr e sce ne s a nd na r r a ti ve pr e se nta ti o ns, wh e th e r scul pte d o r pa i nte d , ve r i si mi l i tud e ce r ta i nl y wa s no t th e r ul i ng pr i nci pl e i n co mme mo r a ti ve po r - tr a i t f i g ur e s o f a r i sto cr a ti c o r r o y a l a nce sto r s. T h e se sty l i ze d po r tr a i t sta tue s a nd pa i nti ng s we r e pr e sum- a bl y i d e nti f i e d e i th e r by th e i r e xa ct pl a ce me nt i n a ch a pe l , mo na ste r y , o r te mpl e o r by th e i r use i n spe - ci f i c r i tua l s such a s bi r th d a y ce l e br a ti o ns o r d e a th a nni ve r sa r i e s. T h e e a r l i e st a nce str a l po r tr a i t g a l l e r y f o r wh i ch ma te r i a l e vi d e nce sur vi ve s, th o ug h a t i ts ba r e st mi ni - mum, co mme mo r a te d a g r o up o f se ve n me mbe r s o f S a ta va h a na r o y a l ty a nd wa s ca r ve d i n th e f i r st ce n- tur y B.C. i n a ca ve a t th e h e a d o f th e str a te g i cNa na g h a t P a ss, l o ca te d a l o ng th e tr a d e r o ute th a t l e d d o wn f r o m th e h i l l s o f th e we ste r n g h a ts to th e po r ts a l o ng th e Ar a bi a n S e a . T h e r o y a l po r tr a i t g a l l e r y wo ul d h a ve be e n se e n by me r ch a nts, tr a d e r s, a nd o th e r tr a ve l - e r s wh o pa sse d th r o ug h S a ta va h a na te r r i to r y o n th e i r wa y to th e we st co a st. Unf o r tuna te l y , th e sto ne ba s-r e l i e f i ma g e s th e mse l ve s a r e d a ma g e d be y o nd r e co g ni ti o n, a nd o nl y th e i nscr i be d l a be l s r e ma i n i n th e r o ck f a ce a bo ve to a ppr i se us o f th e i r i d e nti ty . T h e se co nd such po r tr a i t g a l l e r y kno wn to us co mme mo r a te s th e Kush a n r ul e r s o f no r th e r n Ind i a . An a nce str a l ch a pe l a t Ma t, j ust o utsi d e th e to wn o f Ma th ur a , a ppe a r s to h a ve h o use d no f e we r th a n f o ur po r tr a i t i ma g e s, much d a ma g e d to d a y , ca r ve d f r o m Ar s Or i e nta l i s, vo l ume XXVIII (1998) 41 This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions VIDYA DEHEJIA r e d sa nd sto ne , e a ch wi th a n i d e nti f y i ng i nscr i p- ti o n. T h e si ng l e se a te d i ma g e i s Vi ma Ka d ph i se s, a n e a r l y Kush a n r ul e r o f th e mi d -f i r st ce ntur y A.D, cl a d i n bo o ts a nd tuni c a nd se a te d o n a l i o n th r o ne wi th f e e t pe nd a nt i n th e po si ti o n kno wn a s pr a l a mba pa d a sa na . T h e we l l -kno wn sta nd i ng po r - tr a i t o f th e f a mo us e mpe r o r Ka ni sh ka i s l i ttl e mo r e th a n a si l h o ue tte cr e a te d by th e e cce ntr i c o utl i ne o f h i s mi l i ta r y ma ntl e , wh i ch i s a l so d e pi cte d i n h i s co i n po r tr a i ts a nd wa s cl e a r l y h i s h a l l ma r k. Ce r ta i nl y th e pa d d e d bo o ts a nd wo o l e n cl o a k wo ul d no t h a ve be e n no r ma l g a r b i n th e h o t pl a i ns o f Ma th ur a but sy m- bo l i ze d th e a uth o r i ty o f th e se r ul e r sa nd si g ni f i e d th e i r ce ntr a l Asi a n o r i g i ns. Acr o ss th e l o we r e d g e o f th e cl o a k i s a n i nscr i pti o n th a t r e a d sma h a r a j i a r a j i i ti r a j a d e va putr a ka ni ska , o r "Gr e a t ki ng , ki ng o f ki ng s, so n o f th e g o d s, Ka ni sh ka ." A th i r d po r tr a i t sta tue i s i d e nti f i e d by i nscr i pti o n a s Ka ni sh ka 's succe sso r Huvi sh ka , a nd a f o ur th i s a n uni d e nti f i e d pr i nce . W h i l e th e h e a d s o f th e sta nd i ng sta tue s a r e br o ke n a wa y , i t i s po ssi bl e to r e co nstr uct th a t o f Ka ni sh ka f r o m h i s co i n po r tr a i ts, wh i ch d e pi ct h i m cl a d i n h i s mi l i ta r y ma ntl e a nd bo o ts, wi th a n unusua l l y l o ng be a r d a nd a co ni ca l ce ntr a l Asi a n ca p. Hi s a ttr i bute s o f bo o ts, cl o a k, be a r d , a nd ca p ma d e h i m r e co g ni z- a bl e ; th e sh a pe o f h i s no se o r j a wl i ne we r e se co nd a r y i f no t i r r e l e va nt. T h e sh r i ne a ppe a r s to h a ve be e n co nstr ucte d i n Ka ni sh ka 's y e a r 6, pe r h a ps co r r e - spo nd i ng to th e y e a r A.D. 84, wi th a d d i ti o ns d ur i ng Huvi sh ka 's r e i g n. One o f th e e a r l i e st e xa mpl e s o f r o y a l sto ne po r - tr a i tsf r o m so uth Ind i a , scul pte d i n th e se ve nth ce n- tur y a nd i d e nti f i e d by i nscr i be d l a be l s, i s se e n i n th e Ad i va r a h a ca ve te mpl e a t th e si te o f Ma ma l l a pur a m, so me f o r ty mi l e s so uth o f Ma d r a s(no w Ch e nna i ). On o ne si d e wa l l , two que e ns f l a nk th e se a te d mo na r ch S i mh a vi sh nu, wh o f o und e d th e P a l l a va l i ne a r o und 550, wh i l e o n th e o ppo si te wa l l sta nd s h i s succe sso r Ma h e nd r a va r ma n, wh o r ul e d f r o m ca . 600 to 630, wi th two que e ns be si d e h i m. T h e two r o y a l f i g ur e s l o o k so si mi l a r th a t th e y a r e a l mo st i nte r ch a ng e a bl e a nd ma y e ve n be i d e nti f i e d a s o ne o f a r a ng e o f mo n- a r ch s. S ch o l a r s h a ve sug g e ste d th a t th e sta nd i ng f i g - ur e i s th e l a te r r ul e r Ma h e nd r a va r ma n IIa nd th a t th e se a te d f i g ur e i s h i s pr e d e ce sso r , Na r a si mh a va r ma n Ma ma l l a (ca . 630-68), wh o g a ve h i s na me to th e si te . S uch d e ba te so f f e r f a i r d e mo nstr a ti o n th a t a r ti stsd i d no t scul pt i ma g e sr e co g ni za bl e by th e i r ph y si ca l ch a r - a cte r i sti cs; r a th e r , co r r e ct i d e nti f i ca ti o n wa spo ssi bl e o nl y f r o m i nscr i be d l a be l s o r spe ci f i cr e f e r e nce sto th e scul pto r s' co mmi ssi o n. O RT RAIT URE RET AINED th i sch a r a cte r d ur - i ng th e succe e d i ng ce ntur i e so f Ch o l a r ul e . In th e te nth ce ntur y , te mpl e sbe g a n to co mmi s- si o n a r a ng e o f po r ta bl e br o nze i ma g e so f th e d e i ti e s to be use d i n d a i l y a nd we e kl y r i tua l s, a swe l l a si n a n i ncr e a si ng r a ng e o f a nnua l f e sti va l s. T h o ug h i ma g e s o f d e i ti e swe r e d o ubtl e ssth e pr i me co mmi ssi o ns, i n- scr i pti o nsa t Ra j a r a j a 's Gr e a t T e mpl e o f T a nj a vur , co mpl e te d i n th e y e a r 1010, spe a k o f th e g i f t o f no f e we r th a n f o ur br o nze po r tr a i tso f Ch o l a r o y a l ty a mo ng i ts to ta l o f si xty -si x br o nze i ma g e s. Empe r o r Ra j a r a j a 'ssi ste r , Kund a va i , g i f te d a n i ma g e o f h e r pa r e nts, Ki ng S und a r a Ch o l a a nd Que e n Va na va n Ma h a d e vi , wh i l e th e te mpl e ma na g e r , Ad i tta n S ur y a n, g i f te d i ma g e s o f th e r e i g ni ng mo na r ch Ra j a r a j a a nd h i s ch i e f que e n Lo ka ma h a d e vi . Unf o r - tuna te l y , th e se te mpl e i ma g e s o f T a nj a vur r o y a l ty h a ve l o ng si nce d i sa ppe a r e d , d e pr i vi ng us o f a n i n- va l ua bl e so ur ce o f i nf o r ma ti o n (o r co nf i r ma ti o n) r e - g a r d i ng th e na tur e o f po r tr a i tur e . Ye t bo th th e e a r - l i e r P a l l a va pr a cti ce j ust r e vi e we d a nd l a te r Vi j a y a - na g a r a i ma g e r y to wh i ch we sh a l l r e f e r wo ul d sug - g e st th a t th e T a nj a vur i ma g e swe r e i d e a l i ze d r o y a l po r tr a i ts. T h e T a nj a vur te mpl e co nta i nstwo a d d i - ti o na l po r tr a i tso f Ra j a r a j a , o ne scul pte d a nd th e o th e r pa i nte d ; bo th po r tr a y a g e ne r i ci d e a l i ze d f i g ur e wi th l o cks pi l e d h i g h i n i mi ta ti o n o f h i s f a vo r i te d e i ty , S h i va . Ve r i si mi l i tud e a ppe a r sto h a ve be e n o f l i ttl e co nse que nce . W h i l e th e T a nj a vur te mpl e i nscr i pti o nsd o no t a d d r e sswh a t mo ti va te d th e cr e a ti o n o f i tsf o ur br o nze r o y a l po r tr a i ts, th e i nscr i pti o nso f Ra j a r a j a 's g r a nd - mo th e r , S e mbi y a n Ma h a d e vi , ca st so me l i g h t o n th i s que sti o n. Que e n S e mbi y a n wa sa g r e a t pa tr o n o f th e a r tswh o wa sa cti ve i n bui l d i ng te mpl e sa nd co mmi s- si o ni ng br o nze sf o r a pe r i o d o f a t l e a st si xty y e a r s; h e r e a r l i e st d a te d g i f t be l o ng sto th e y e a r 941, wh i l e th e l a te st o ccur r e d i n th e y e a r 1001. S e mbi y a n Ma h a d e vi f o und e d a to wn th a t a d o pte d h e r na me ; sh e se ttl e d th e r e a g r o up o f Ch a tur ve d i br a h mi nsa nd 42 This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions T HE VERY IDEA OF A P ORT RAIT a l so co nstr ucte d th e Ka i l a sa na th a te mpl e . S e mbi y a n h e r se l f wa s co mme mo r a te d i n a br o nze po r tr a i t sta tue th a t wa s pr o ba bl y co mmi ssi o ne d d ur i ng h e r l i f e ti me , pe r h a ps a t th e be h e st o f h e r so n Utta ma Ch o l a . A l a te r i nscr i pti o n o f S e mbi y a n's g r e a t-g r a nd so n, Em- pe r o r Ra j e nd r a , spe a ks o f spe ci a l a r r a ng e me ntsma d e f o r th e ce l e br a ti o n o f S e mbi y a n's r o y a l bi r th d a y i n th e mo nth o f Ch i tti r a i (Ma r ch -Apr i l ) a t th e Ka i l a sa - na th a te mpl e . T h e i nscr i pti o n ma ke s spe ci f i c pr o vi - si o ns f o r th e wo r sh i p o f h e r po r tr a i t sta tue a l o ng si d e th e i ma g e o f Ri sh a bh a va h a na , o r S h i va wi th h i s bul l . It spe a ks a l so o f a g r e a t h a l l wi th i n th e Ka i l a sa na th a te mpl e th a t to o k th e que e n's na me (S e mbi y a n Ma h i i d e vi y a r pe r i y a ma nd a pa m) a nd ma y h a ve be e n use d f o r h e r bi r th d a y ce l e br a ti o ns. In th e co nte xt o f i d e a l i ze d po r tr a i tsth a t r e se mbl e i ma g e s o f d e i ti e s, I wo ul d l i ke to r e vi si t my e a r l i e r sug g e sti o n th a t th e e vo ca ti ve br o nze i ma g e i n th e Fr e e r Ga l l e r y i s i nte nd e d to po r tr a y S e mbi y a n Ma h a d e vi . W h i l e co ncl usi ve pr o o f o f such a sug g e s- ti o n ma y be i mpo ssi bl e to pr o d uce , se ve r a l f e a tur e s se e m to i nd i ca te th e pr o ba bi l i ty o f such a n i d e nti f i - ca ti o n. It h a s a l wa y s be e n r e co g ni ze d th a t th e i ma g e i s sty l i sti ca l l y i d i o sy ncr a ti c i n i ts pr o po r ti o ns, i n th e ma r ke d a nd e ve n e xa g g e r a te d sl o pe o f i ts sh o ul d e r s, i n th e na tur a l i sti c h a nd l i ng o f i ts f ul l h e a vy br e a sts, a nd i n i ts so l e mn, th o ug h tf ul e xpr e ssi o n. It i s no t a sta nd a r d i ma g e o f th e g o d d e ss P a r va ti . T h e sug g e s- ti o n th a t i ts S r i La nka n o r i g i n e xpl a i ns i ts d e vi a ti o n f r o m th e no r m d o e s no t h o l d up to se r i o us scr uti ny ; sty l i sti ca l l y , th e i ma g e d i spl a y s f e a tur e s th a t i nd i ca te i ts ma nuf a ctur e i n th e h e a r t o f th e Ch o l a co untr y . El se wh e r e I h a ve spo ke n a t l e ng th a bo ut i ts ma ny f e a - tur e s o f f o r m a nd d e co r a ti o n, wh i ch i nd i ca te i t be - l o ng s to th e ve r y e nd o f th e te nth ce ntur y , th e d a te a t wh i ch a po r tr a i t i ma g e o f S e mbi y a n i s l i ke l y to h a ve be e n ma d e .2 Ad d i ti o na l l y , so me unco nf i r me d r e po r ts a ppa r e ntl y sug g e st th a t th e i ma g e , a cqui r e d i n 1929, pe r h a ps th r o ug h C. T . Lo o , wa s r e co ve r e d f r o m a te mpl e ta nk cl o se to th e to wn o f S e r nbi y a n Ma h a d e vi .3 W h a t co nsi d e r a ti o ns co ul d h a ve l e d S e mbi y a n's so n o r g r a nd so n to co mmi ssi o n a br o nze scul pte d i ma g e o f th e que e n? Fr o m a l l th a t we l e a r n a bo ut h e r , Que e n S e mbi y a n wa s a r e ma r ka bl e pe r so na l i ty . A l a vi sh pa tr o n o f th e sa cr e d a r ts, sh e co ntr i bute d g e n- e r o us g i f ts o f i ma g e s, l a nd , a nd ca sh e nd o wme nts to wa r d th e cr e a ti o n o f twe nty -o ne te mpl e s. S h e wa s a wo ma n wi th a r e ma r ka bl e se nse o f h i sto r i cd o cu- me nta ti o n, wh i ch wa sr a r e i n a nci e nt Ind i a . He r nu- me r o uste mpl e i nscr i pti o nsi nf o r m us th a t wh e n sh e r e pl a ce d br i ck te mpl e swi th th o se bui l t o f sto ne , sh e e nsur e d th a t a l l th e o r i g i na l d e d i ca to r y i nscr i pti o ns we r e r e e ng r a ve d o n th e ne wsto ne str uctur e s, a l o ng - si d e h e r o wn r e co r d . He r i nscr i pti o n a t th e Ad utur a i te mpl e sta te s: W h i l e d i sma ntl i ng th e e a r l i e r pa r t-br i ck, pa r t- sto ne str uctur e , th e i nscr i be d sto ne swe r e ca r e - f ul l y r e mo ve d a nd pr e se r ve d f o r th e d o cume nts e ng r a ve d o n th e m; a nd wh e n th e ne wstr uctur e wa s co mpl e te d , a l l i n sto ne , th i s g r e a t so ul S e mbi y a n Ma h a d e vi o r d e r e d th a t th e o l d i nscr i p- ti o nsr e co r d i ng g r a nts, d o na ti o ns, e tc. o f a l l e a r - l i e r ki ng swh i ch h a d be e n d a ma g e d o r wo r n o ut, be f a i th f ul l y e ng r a ve d o n th e wa l l s o f th e ne w str uctur e .4 At th e te mpl e o f T i r uko d i ka va l we l e a r n th a t o nce th e o l d i nscr i pti o nsh a d be e n r e e ng r a ve d o n th e wa l l s o f th e ne wl y bui l t sto ne te mpl e , Que e n S e mbi y a n o r d e r e d th a t th e y be d i sca r d e d , a s th e y h a d se r ve d th e i r pur po se . W e ma y a ssume th a t wh a t i nspi r e d S e mbi y a n's f a mi l y to co mmi ssi o n th i sf i r st kno wn me ta l po r tr a i t o f Ch o l a r o y a l ty wa sth e i r a ppr e ci a ti o n o f h e r r e ma r k- a bl e pe r so na l i ty , h e r i nte g r i ty , a nd h e r se nse o f h i s- to r i ca l a wa r e ne ss, to g e th e r wi th th e i r d e si r e to pr e - se r ve f o r po ste r i ty th e me mo r y o f a g r e a t que e n. P e r - h a ps th e a r ti st wh o scul pte d th e br o nze i ma g e pe r - ce i ve d i n S e mbi y a n Ma h a d e vi such po we r a nd e mi - ne nce th a t h e co ul d e nvi si o n h e r a s co mpa r a bl e to no ne l e ss th a n P a r va ti , th e g r e a t g o d d e ss. W o ul d th e que e n h a ve be e n r e co g ni ze d f r o m th i s i ma g e , i n wh i ch que e n a nd g o d d e ssse e m to mi ng l e a nd me r g e ? Ve r y unl i ke l y . Is i t r e a so na bl e to e xpe ct such r e co g - ni ti o n? Once a g a i n th e a nswe r i s no . But wh e n th e i ma g e wa sca r r i e d i n pr o ce ssi o n d ur i ng h e r bi r th d a y ce l e br a ti o ns, a l l wo ul d h a ve r e co g ni ze d h e r . P o r tr a i tso f th e T a mi l sa i ntspr o vi d e a no th e r r i ch f i e l d wi th i n wh i ch to co nsi d e r i d e a s o f po r tr a i tur e , a nd th e a l l i e d co nce pt o f r e co g ni ti o n o f po r tr a i ts, th a t pr e va i l e d i n so uth Ind i a i nto th e si xte e nth ce ntur y . 43 This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions VIDYA DEHEJIA FIG. 2. Da nci ng ch i l d -sa i nt S a mba nd a r , Ch o l a pe r i o d , twe l f th ce ntur y , br o nze , 18 34i n. Co ur te sy Fr e e r Ga l l e r y o f Ar t, S mi th so ni a n Insti tuti o n, F76.5. This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions T HE VERY IDEA OF A P ORT RAIT T h e ma j o r i ty o f te mpl e s i n th e T a mi l co untr y po s- se ss a co mpl e te se t o f i ma g e s o f i ts sa i nts, e i th e r th e si xty -th r e e S h a i va Na y a nma r so r th e twe l ve Va i sh na va Al va r s. T h o ug h i ma g e s o f ch i l d -sa i nt S a mba nd a r , wh e th e r d a nci ng (f i g . 2) o r sta nd i ng , sh o w to ta l l a ck o f co nce r n f o r ph y si ca l l i ke ne ss o r vi sua l spe ci f i ci ty , th e y ma y be te r me d po r tr a i ts i n th e se nse th a t th e y a r e r e co g ni ze d by th e d e vo te e . T h e f i g ur e o f a n un- cl o th e d i nf a nt, wi th o ne h a nd po i nti ng upwa r d s a nd th e o th e r h a nd e i th e r i n th e g e stur e o f d a nce o r h o l d - i ng a cup, ma ke s th e i ma g e i nsta ntl y r e co g ni za bl e . De vo te e s wo ul d h a ve to l d o ne a no th e r th a t th i s wa s th e ch i l d wh o wa s g i ve n a cup o f d i vi ne mi l k a nd wh o , a f te r po i nti ng to wa r d th e h e a ve ns wh e n que sti o ne d o n th e so ur ce o f th e mi l k, bur st i nto j o y o us so ng s i n pr a i se o f th e g o d h e a d . T h e a r ti sts to o k h o l d o f th e e sse nti a l e l e me nts o f S a mba nd a r 'sl i f e sto r y a nd use d th e m to f o r mul a te h i s po r tr a i t. Ye t th e pr e va i l i ng twe nti e th -ce ntur y co nf usi o n o ve r i ma g e s o f ch i l d - sa i nt S a mba nd a r , mi sta ke nl y l a be l e d i n ma ny muse - ums a s "d a nci ng ch i l d Kr i sh na , " po i nts o nce a g a i n to th e bl ur r i ng o f ca te g o r i e s o f d i vi ne a nd , i n th i s ca se , sa i ntl y r a th e r th a n r o y a l . Ar ti sts a ppa r e ntl y vi sua l - i ze d th e be l o ve d ch i l d S a mba nd a r i n th e mo l d o f th e o nl y o th e r ch i l d f i g ur e wi th wh i ch th e y we r e f a mi l - i a r ; to th e m th i s wa s th e sta nd a r d a nd a cce pte d f o r - mul a . T h e l e ng th o f S a mba nd a r 's no se o r th e sh a pe o f h i s e y e s wa s no t i mpo r ta nt. Vi sua l spe ci f i ci ty a nd ve r i si r ni l i tud e we r e l i ke wi se d e e me d unne ce ssa r y a nd i r r e l e va nt i n th e ca se o f th e Ch r i sti a n sa i nts. One i s r e mi nd e d o f Ro be r t Br o wni ng 's po e m "Fr a Li ppo Li ppi , " i n wh i ch Br o th e r Li ppo Li ppi pa i nte d i nd i - vi d ua l i ze d f i g ur e s o f th e Ca th o l i c sa i nts o nl y to be ch a sti se d by th e pr i o r , wh o wa nte d a sta nd a r d ty pe : P a i nt th e so ul , ne ve r mi nd th e l e g s a nd a r ms! Rub a l l o ut, tr y a t i t a se co nd ti me . Eve n th e po r tr a i tso f l e sse r d o no r s o n Ch o l a te mpl e s, 5 th o ug h d i spl a y i ng mo r e i nd i vi d ua l ph y si ca l tr a i ts, a r e ne ve r th e l e ss ty pe s-e csta ti c d e vo te e s-r a th e r th a n r e co g ni za bl e i nd i vi d ua l s. P o r tr a i ts th a t a r e l i ke ne sse s ca me i nto vo g ue i n no r th e r n Ind i a wh e n th e Mug h a l e mpe r o r Akba r h i m- se l f sa t f o r h i s po r tr a i t so th a t h i s l i ke ne ss co ul d be ca ptur e d by a r ti sts, d i r e cti ng a l so th a t po r tr a i ts be pa i nte d o f h i s co ur ti e r s a nd no bl e s. T h e va r i o us Mug h a l e mpe r o r sa r e cl e a r l y d i sti ng ui sh a bl e o ne f r o m th e o th e r i n th e i r pa i nte d po r tr a i ts; Akba r ca nno t be mi sta ke n f o r Ja h a ng i r , no r Ja h a ng i r f o r S h a h Ja h a n. And i nd e e d th e a r ti sts to o k pa i ns to po r tr a y th e e m- pe r o r s a t va r y i ng sta g e s o f th e i r ca r e e r s: a s y o ung pr i nce s, a t th e h e i g h t o f th e i r po we r , a nd a s a g i ng mo na r ch s. Ad mi tte d l y , h o we ve r , i t i s wh e n Mug h a l a r ti sts mo ve d a wa y f r o m r o y a l ty to e cce ntr i c ph y si - ca l ty pe s l i ke d e r vi sh e s a nd f a qi r sth a t th e y pr o d uce d th e i r mo st pr e ci se a nd vi vi d po r tr a i ts-wa r ts, mo l e s, a nd a l l . An e vo ca ti ve d r a wi ng o f a po r tl y ma n r e l a x- i ng wi th a j ug o f wi ne be f o r e h i m ma ke s us f e e l we a r e e nco unte r i ng a spe ci f i c i nd i vi d ua l (f i g . 3). T h i s f r e e d o m, wh i ch th e a r ti sts e nj o y e d o nce th e y we r e r e l e a se d f r o m th e r e str i cti o ns o f po r tr a y i ng r o y a l f i g - ur e s, i s e qua l l y e vi d e nt i n pr e -Mug h a l pa i nti ng . P a i nt- e r s d e pi cti ng th e Bud d h a 's l i f e sto r y i n th e f i f th -ce n- tur y Bud d h i st mo na sti c ca ve s a t Aj a nta te nd e d to pr o d uce sty l i ze d f i g ur e s; but th e y a d o pte d a r i ch a nd vi vi d mo d e o f d e pi cti o n wh e n th e y tur ne d to po r - tr a y i ng wi tch e s, d wa r f s, a nd o th e r ma r g i na l f i g ur e s. No ta bl y , l i te r a r y te xts sug g e st th a t wa l l pa i nti ng swe r e a r e g ul a r pa r t o f th e d e co r a ti o n o f mo nume nts; but Aj a nta a l o ne sur vi ve s a s te sti mo ny o f th i s a nci e nt mo d e o f d e co r a ti o n. In so uth e r n Ind i a , wh e r e Mug h a l i nf l ue nce wa s pe r i ph e r a l , r e co g ni za bl e po r tr a i ts ca me i nto vo g ue so me wh a t l a te r . P o r tr a i ts o f th e Vi j a y a na g a r r ul e r s (1356-1556) co nti nue to be o f a sty l i ze d ty pe . T h e f a mo usbr o nze po r tr a i tso f Empe r o r Kr i sh na d e va r a y a a nd h i s two que e ns, to d a y i n th e T i r uma l a De va st- h a na m a t T i r upa ti , a r e g e ne r i c i d e a l i ze d a r i sto cr a ti c i ma g e s th a t co ul d e qua l l y we l l be po r tr a i tso f a ny r o y a l o r a r i sto cr a ti c g r o up. It i s o nl y wi th th e Na y a ks o f Ma d ur a i , o nce g o ve r no r s o f th e Vi j a y a na g a r e mpe r - o r s, th a t r e co g ni za bl e po r tr a i tur e co me s i nto i ts o wn. Empe r o r T i r uma l a Na y a k (r . 1623-59) be g a n to co mmi ssi o n po r tr a i t sta tue s o f th e e nti r e Na y a k l i n- e a g e , to be ca r ve d a g a i nst th e g r a ni te co l umns o f o ne o r o th e r h a l l i n th e te mpl e s h e co nstr ucte d . T h e r e - sul t i s a n a nce str a l po r tr a i t g a l l e r y wi th r ul e r s a r - r a ng e d i n ch r o no l o g i ca l o r d e r a nd e nd i ng wi th T i r uma l a h i mse l f , wh o i s po r tr a y e d i n te mpl e a f te r te mpl e a s a po r tl y f i g ur e wi th h i s sto ma ch r o l l i ng o ve r h i s l o we r g a r me nt a nd h i s tur ba nl i ke h e a d g e a r ba r e l y 45 This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions VIDYA DEHEJIA FIG. 3. S e a te d ma n, a ttr i b. Ba sa wa n, Mug h a l pe r i o d , ca . 1580-85, 3 3/ x 3 l /8 i n. Co ur te sy Fr e e r Ga l l e r y o f Ar t, S mi th so ni a n Insti tuti o n, F53.60. 46 _ _ "44 - w .. ....~~~~~~~~~~~~~~~~~~~~~~~1 .E; This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions T HE VERY IDEA OF A P ORT RAIT co nta i ni ng th e bunch e d h a i r th a t f a l l so ve r to o ne si d e . W a s th i s tr e nd to wa r d ve r i si mi l i tud e i n po r tr a i tur e to so me e xte nt d ue to th e co nta ct wi th th e P o r tu- g ue se , wh o se h e l p T i r uma l a so ug h t i n h i s ba ttl e a g a i nst th e S e th upa ti s o f a d j o i ni ng Ra mna d ? No cl e a r a nswe r a r i se s. E MAY P ERHAP S a tte mpt a wo r ki ng h y po th e si s to e xpl a i n th e i nd i f f e r e nce to ve r i si mi l i tud e i n so much o f Ind i a n po r - tr a i tur e . In th e co nte xt o f Hi nd u, Bud d h i st, a nd Ja i n Ind i a , i t ma y be ne ce ssa r y to r e e xa mi ne , e ve n r e d e - f i ne , th e ph i l o so ph i c co nce pt o f th e i nd i vi d ua l se l f . It co ul d be sa i d th a t th e Ch r i sti a n a nd Isl a mi c se l f co mbi ne s se l f a s bo d y a nd se l f a s so ul , th e bo d y be - i ng i nd i spe nsa bl e f o r th e r e sur r e cti o n th a t wi l l o ccur o n th e f i na l Da y o f Jud g me nt. T h e sa me bo d y i n wh i ch th e so ul d we l t wh i l e o n e a r th , wi th i ts spe ci f i c ph y si o g no mi c pe cul i a r i ti e s, wi l l be r e sur r e cte d to co nta i n th e so ul i n th e ne xt wo r l d . By co ntr a st, i n- d i g e no us Hi nd u, Bud d h i st, a nd Ja i n be l i e f s e nvi si o n a d i se mbo d i e d e nti ty , a so ul th a t r e tur ns r e pe a te d l y to e a r th , e a ch ti me te mpo r a r i l y a ssumi ng a bo d y wi th pa r ti cul a r ph y si ca l ch a r a cte r i sti cs, o nl y to d i sca r d i t a nd a ssume a to ta l l y d i f f e r e nt bo d y th e ne xt ti me a r o und . T h e ph y si ca l f e a tur e s o f a bo d y e xi st o nl y f o r a si ng l e l i f e ti me a nd no t f o r e te r ni ty . T h e Bh a g a va d -Gi ta puts i t succi nctl y : As a ma n d i sca r d s wo r n-o ut cl o th e s to put o n ne w a nd d i f f e r e nt o ne s, so th e e mbo d i e d se l f d i sca r d s i ts wo r n-o ut bo d i e s to ta ke o n o th e r ne w o ne s.6 T h e Bud d h a , f o r i nsta nce , i s be l i e ve d to h a ve a s- sume d 550 d i f f e r e nt bo d i e s, i ncl ud i ng th a t o f th e e l - e ph a nt Ch a d d a nta , th e mo nke y Ma h a ka pi , a n a cr o - ba t, th e va i sy a me r ch a nt Vi sa h y a , br a h mi nsS ume d h a a nd S h y a ma , a nd ksa tr i y a pr i nce s Ma h a j a na ka a nd Ve ssa nta r a . Fi na l l y bo r n a s ch i e f ta i n S i d d h a r th a , h e se ve r e d a l l bo nd s a nd a ch i e ve d sa l va ti o n; h e d i s- ca r d e d th e bo d y , ne ve r a g a i n to be co nf i ne d i n bo d i l y f o r m. P e r h a ps i t i s no t so str a ng e , a f te r a l l , th a t th e r e pr o d ucti o n o f ph y si o g no mi c l i ke ne ss h e l d l i ttl e si g - ni f i ca nce i n a so ci e ty wh i ch be l i e ve d th a t th e ph y si - ca l f e a tur e s o f th e pr e se nt bi r th wo ul d be r e pl a ce d by a ne w se t o f bo d i l y f e a tur e s i n th e ne xt bi r th a nd th a t th e ul ti ma te sta te o f sa l va ti o n i s th e se l f une n- cumbe r e d by a bo d y . Fur th e r mo r e , Ind i a n r e l i g i o us sy ste ms uph e l d th e suppr e ssi o n o f th e e g o ; f i g ur e s wi th vi sua l spe ci f i ci ty ma y we l l h a ve be e n se e n a s ca te r i ng to th a t ve r y qua l i ty o f e g o i sm th a t th e y so ug h t to d e str o y .7 An i d e a l i ze d o ute r f o r m i s o ne d i sti nc- ti ve a nswe r to th e d e ma nd s o f po r tr a i tur e . P o r tr a i tsh a ve a l wa y s e xi ste d i n Ind i a , th o ug h th e no me ncl a tur e ma y be mi sl e a d i ng to th e mo d e r n r e a d e r be ca use th e se sto ne , me ta l , o r pa i nte d po r - tr a i ts pa i d l i ttl e a tte nti o n to ph y si ca l r e se mbl a nce . T h e a r ti sts' i d e a o f po r tr a i tur e , e spe ci a l l y o f r o y a l ty a nd sa i nth o o d , te nd e d to wa r d i d e a l i ze d vi si o ns o f th e qua l i ty , ch a r a cte r , a nd sta tur e o f th e subj e cts r a th e r th a n a pr e ci se l i ke ne ss o f th e i r ph y si ca l f e a tur e s. If th i s h y po th e si s i s va l i d , i t i s no t sur pr i si ng th a t a me ta l po r tr a i t o f a g r e a t a nd r e ve r e d que e n wa s mo d e l e d o n th e i co no g r a ph y a nd sty l e e mpl o y e d to d e pi ct th e d i vi ne P a r va ti . C 47 This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions VIDYA DEHEJIA No te s 1. A. C.W o o l ne r a nd La ksh ma n S a r up, tr a ns., T h i r te e n P l a y s o f Bh a sa (De l h i : Mo ti l a l Ba na r si d a ssr e pr i nt, 1985), 172-76. 2. Vi d y a De h e j i a , Ar t o f th e Impe r i a l Ch o l a s(Ne wYo r k: Co l umbi a Uni ve r si ty P r e ss, 1990), 36-38. 3. Co nve r sa ti o nswi th S a mue l Ei l e nbe r g i n 1988. W e a cqui r e d th e i ma g e , wh i ch h a d be e n sto r e d i n P a r i s, th r o ug h H. Ke vo r ki a n. 4. Annua l Re po r t o n S o uth Ind i a n Epi g r a ph y , no . 35 (Ma d r a s, 1907). 5. P a d ma Ka i ma l , "P a ssi o na te Bo d i e s: Co nstr ucti o nso f th e S e l f i n S o uth Ind i a n P o r tr a i ts, " Ar ch i ve so f Asi a n Ar t 47 (1995): 6-16. 6. Ba r ba r a S to l e r Mi l l e r , T h e Bh a g a va d -Gi ta : Kr i sh na 's Co unse l i n T i me o f W a r (Ne wYo r k: Co l umbi a Uni ve r si ty P r e ss, 1986), ch a p. 2, ve r se 22, p. 32. 7. P r a ta pa d i ty a P a l , T h e Ar t o f T i be t: ACa ta l o g ue o f th e Lo s Ang e l e sCo unty Muse um o f Ar t Co l l e cti o n (Lo s Ang e l e s: Lo s Ang e l e sCo unty Muse um o f Ar t, 1990), 57. 48 This content downloaded on Tue, 5 Mar 2013 16:31:22 PM All use subject to JSTOR Terms and Conditions