Tag Archives: Chola

Unraveling the auctioned Kanchipuram Kailasantha Gauri’s past – Part 2

Part 1 of this post exposed how the provenance for this fantastic bronze was erased and she was auctioned for a million dollars.


We had seen the reference in the 1944 article Gauri, A Southern Bronze, By K. B. IYER – where he specifically mentions “One of such pieces is Gauri from the Kailasanath temple, Conjeeveram, now in the collection of Ramgopal, the well-known dancer.”

Today we bring forth more research into her origins – for a 1915 publication – Sri O.C. Ganguly’s South Indian Bronzes.

Here is the great man himself and a short bio

Here are the references to the bronze from the book.



From the above it is clear that the Bronze was very much in the Kailasantha temple atleast till 1915 and inbetween 1915 n 1944 it somehow moved into the possession of famous dancer Sri Ram Gopal OBE and was with him at least till 1944.

This post may not provide any conclusive evidence to seek restitution of the bronze but atleast it gives her a past and a home town – The Gauri of the Kanchi Kailasantha Temple and not just ” A large and important bronze figure of Parvati”

Sivapuram Somaskanda – the untold story – Part 2

70 years is a long time ago ! But if you consider the gravity of the offense – a theft that shook the art world and the longevity of the very artifact – a creation that has stood for a 1000 years, then nothing is late to be time bared. Part 1 of this expose detailed how the Sivapuram Somaskanda was looted and is currently in the Norton Simon Museum. Today we provide a startling expose – the very expert who was responsible for making the world aware of the crime – he who visited the Sivapuram temple and said in no uncertain terms that what was being worshipped was a fake – and whose revelations led to the protracted battle and the eventual return of the Sivapuram Nataraja, was aware of much more. Infact he knew about the Sivapuram Somaskanda !!

It is important to reemphasize that the reference in Douglas Barrett’s book of 1965 Early Cola Bronzes is what is considered to be the trigger point of this entire theft coming to light.

We present today an Article in Marg Vol 48. No.4 June 1997 – EARLY CHOLA BRONZES IN THE NORTON SIMON MUSEUM – Douglas Barrett.

It is interesting to read the General Editor’s Note: “ The late Douglas Barrett wrote this article for the late Norton Simon soon after his visit to the museum in Pasadena, California, in 1978. However, the article was never published. Marg is pleased to publish it now through the generosity of the Norton Simon Museum and Mrs. Mary Barrett. Mr. Barrett was an authority on Cola Bronzes and we feel that his comments on the selected masterpieces will be much appreciated by Indian Art historians. One of the Bronzes ( figure 9) is no longer in the collection and now belongs to a European Collector. Some faithful readers of Marg may recognize a few of the others as they were published in the fifties in the magazines. “

The detailed article is attached at the end of this post – however, what is pertinent to read is this paragraph in the article page 85 Marg exhibit “ Hence, the importance of the remarkable Somaskanda in the Museum ( figures 3 and 4). The Somaskanda, together with a standing Ganesa and the famous Nataraja , formed part of a hoard discovered at Sivapuram ( Tanjavur district). It was published in its uncleaned state by P. R. Srinivasan and with the Ganesa and Nataraja, dated to the middle of tenth century AD.”

We now have more on this case – the French Institute in Pondicherry visited the temple on 15th June 1956 and followed up with a visit on 16th Nov 1957. Sadly, what they did not realise was the fact that they had photographed the fakes. Till date these images have never been published and today we are doing so for the first time.

This is what Douglas Barret saw when he went to Sivapuram in 1965.


These were the bronzes faked by the stapathy in june 1954, which the expert in Douglas Barret immediately recognised since he had the book by Sri. P.R. Srinivasan with the original photographs of the Nataraja and Somaskanda


It looks like the Stapathy went to great extents to copy of the Nataraja ( the clues are the lack of weathering on the flames of the prabha, the missing petals of the lotus base on the last pedestal amongst a few), but for the Somaskanda he has thrown caution to the wind – is a very poor replica. Maybe he gambled that not many would have concentrated on the rest of the bronzes !!

One look at the bronzes side by side shows the fake


But he did try and mimic the overall styling and facial features. Which leads us to a more damning expose ….to come up shortly….

But some uncomfortable questions first – the out of court settlement between the Norton Simon Museum and the Indian Government was signed in 1976. The Nataraja stayed in the US for a period of 10 years before being returned to India. The case was closed in India stating “All accused arrested and convicted. There is no information about the remaining idols “. This monograph was surely with the Museum in 1978 during the tenure of the agreement !!

Links to the entire Marg article









The Chola King who was auctioned for $58,750

There was a big hue and cry about the Chola King bronze ” said ” to be Sri Raja Raja Chola during the 1000th year anniversary of the Tanjore Big temple.

We had done a detailed post on the same bronze and other portraits of Kings wherein we had approximated the size of the bronze based on this inscription

“14. One solid image of Periya-Perumal, having two sacred arms (and measuring) one mulam, four viral and a half in height from the feet to the hair.”

Lets take Mulam as approx 15 inches and 41/2 virals to mean half of a mulam – so totals up to 22.5 inches or 57 centimeters.

The bronze in the Sarabhai Museum is described by Sri. P. R. Srinivasan as ” The bronze representing a Chola King, height 74 cm “ in his book on Bronzes of South India ( P.R. Srinivasan (F.E. 1963, L.R. 1994))

Let us see the characteristics of this ” Chola” King once more

The Key here to the identity that is indeed a ruler is the “veerakazhal” or bravery anklet worn on the left leg.

Now, a year ago a reputed auction site listed this interesting bronze for auction with a base price of $ 60,000 to $80,000

A Large Bronze Figure of Chandikeshvara
SOUTH INDIA, CHOLA DYNASTY, 10TH/11TH CENTURY

It is interesting to compare the features of this ” Chandikeshvara” to the accepted bronzes in the Museums in Chennai and Tanjore.



If you noticed none of them have the anklet on.

Now let us see the ” chandikeshvara” bronze up close and compare to the “Chola” King.



No doubt this is definitely not Chandikeshwara but a Chola King.

The dimensions as per the auction house is :

247/8 in. (63.1 cm.) high

Which compares more favorably to the dimensions in the Big temple inscriptions

There is no mention of any dates and specific in the Provenance:

Pre-Lot Text

PROPERTY FROM A EUROPEAN COLLECTION

So is this the bronze of the Great Emperor that we should have brought back to the Tanjore Temple ? Sadly he sold below the list price for $ 58,750.

How the Kanchipuram Kailasantha Gauri’s past was erased and she was auctioned for a million dollars

A large and important bronze figure of Parvati
SOUTH INDIA, CHOLA PERIOD, CIRCA 1100

Is how the auction house describes her. Her base price was set for $800,000 – $1,200,000 and she was auctioned for $ 963,750

There is video link describing her and assigning a 11th Century date for her.

Chola bronzes of this height /size and beauty are comparable to the great bronzes just post the Sembian Madevi era and closer to Sri Raja Raja and Rajendra period.
The provenance and buyer information is scarce –

Provenance
Collection of Ariane Dandois, London, acquired in Geneva, 16 March 1977

Literature

C. Vogel, “Global Treasure Trove,” New York Times Magazine, 1 March 1987, pp. 62-66

A casual check reveals nothing about the said bronze in the quoted magazine article.

It would be interesting for readers to read more about the previous owner but that is not our objective.

Now comes the interesting part.

In 1944 there is this interesting article titled

Gauri
A Southern Bronze
By K. B. IYER

One of such pieces is Gauri from the Kailasanath temple, Conjeeveram, now in the collection of Ramgopal, the well-known dancer.

Both tradition and stylistic features distinguish it as an early Chola work of probably the 10th century

Gauri is the Gracious Mother of the Universe, the Better-half of Siva, half-female half-male (Ardha-nariswara). In love and in devotion unexcelled even among the gods, She is the supreme arche-type of conjugal felicity. When love’s darts bruise young maidens’ hearts, their secret prayers are turned to her. It is she who protects them from every shoal and storm on the unchartered sea of married life. Just as Siva as Nata-raja symbolises the cosmic law of rhythm, Parvati in her aspect as Gauri symbolises the universal and eternal female instinct of yearning devotion, aspiration and concern for the male. Isn’t this figure instinct with that poignant feeling which makes the contemplation of beauty a haunting delight?

On first look they look similar, lets analyse them




There is a problem in the mentioned dimensions.

The 1944 article mentions ” Exclusive of the pedestal which is 9 inches, the figure is 26 inches in height” whereas the auction house measures it as ” 33 1/8 in. (84.2 cm.) high ” – however, the stylistic identifications match to a T.

It is pertinent to note that the Great Chola ruler Raja Raja visited Kanchi Kailasantha temple and was awe struck by it and some consider it to be his inspiration for building the Tanjore Bridhadeshwara temple. A further study of the Chola inscriptions could reveal if this bronze is indeed his gift.

This is obviously the same bronze from the famed Kailasantha temple of Kanchi which somehow landed up with famous dancer Sri Ram Gopal OBE and was with him atleast till 1944.

He passed away in UK in 2003.

How the Gauri went out of India, was sold in Geneva and acquired by the prev owner should be easily available to the auction house. A simple google search reveals the 1944 article and photos. . Considering the current cloud over Chola bronzes, am sure there was enough due deligence done and provenances verified to accord this Bronze ” A large and important bronze figure of Parvati” Tag. If so why was her past erased?

Kapoor Files- Art of the Loot Part 10- Nagapattinam Buddha

In our continuing pursuit to bring to light the extent of the rot – today we move away from Hindu dieties and metal – to stone and Buddha – not any Buddha but a Buddha from Nagapattinam 11th Century. This was a dynamic period in the Chola rule when the mighty Emperor Sri Raja Raja ruled much of South India. His extensive donations to the Soodamani Vihara in Nagapattinam is studied to this day and to spot one such piece in the September 2010 Catalogue of now arrested Subash Kapoor’s Art of Past is the subject of our post today.


What is interesting is there is this particular article in the Hindu with the image dated Nov 11th 2012, which seem to bear a remarkable likeness to the catalog sculpture.

The foot note makes it even more interesting: ” The Buddhist statue marked for theft by alleged Kapoor associate, Sanjivi Asokan, but not stolen owing to police action.”

and the report goes ” One Buddhist idol was said to have been marked for theft by Kapoor’s alleged head of operations in Tamil Nadu, the now-imprisoned Sanjivi Asokan. However, that idol was ultimately not stolen, quite likely due to timely action by authorities. “

The image in the publication is not very clear but there is a very important clue in the Buddha’s hand – his right thumb is broken.

A careful study of the catalog reveals the same breakage in it as well.

Now obviously something is amiss. The Catalog listing also boasts that the said sculpture was exhibited in the Asian Civilisations Museum, Singapore ” On the Nalanda Trial “ from 1st Nov 2007 to 23rd March 2008. It was a prestigious exhibition which was seen even by the Prime Minister of India Dr Manmohan Singh.

The Press release of the ACM for the event has this said sculpture with a detailed foot note as well



“…viewed stunning Buddhist art, including this 11th Century stone sculpture from South India, weighing over 700 kg.”

Now, what timely action are we talking off. The photo in the Hindu seems to be of the Buddha in situ in a site in India ( large temple wall abutting it??) –

Kapoor Files- Art of the Loot Part 9- Toledo Ganesha

We had promised for some explosive revelations on this case. Here is the first of the next set. We go back to photos published by the Idol Wing.

The first of the green marked ones – the Ganesha.

Ever since this case has been in the open, we have been running through various Museum databases and acquisitions and cross checking with the images published by the Idol wing. This bronze currently in the Toledo Museum came up in our searches as it was acquired in 2006 ( for the acquisition number)

On further checking we notices that the Museum has had a lot of interaction with the accused Subash Kapoor and he is listed in their annual report 2007 ( refer the end notes). We could not find the gallery’s 2006 Annual report and hence are not aware if the provenance information is declared in that document.

However a simple comparison reveals that we are looking at the same Sripuranthan Ganesha

Lets take a closer look – there is a small blemish in the trunk ( wish we could receive better quality images of the same)


Thanks to a friendly associate who took the pains to drive up to the Museum and get us high resolution images we can check the bronze in toledo and match the same.

The Hands, base pedestal, the loin cloth ornamentation all match up.



Now, it is upto the authorities to seek the return of this looted deity.

Foot Note:

Annual report 2007 of the Toledo Museum ( extract):

Burmese, Buddhist Votive Plaque, 12th–13th century, terra cotta,
Gift of Subhash Kapoor, 2007.113
Burmese, Buddhist Votive Plaque, 12th–13th century, terra cotta,
Gift of Subhash Kapoor, 2007.114
Indian, Gupta Period, Seated Mother, 5th century, terra cotta, terra
cotta, Gift of Subhash Kapoor, 2007.107
Indian, Gupta Period, Standing Monkey, 6th century, terra cotta,
Gift of Subhash Kapoor, 2007.108
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.109
Indian (Chandraketugarh), Kubera Rattle, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.110
Indian, Gupta Period, Durga Killing Buffalo Demon, 5th century,
terra cotta, Gift of Subhash Kapoor, 2007.111
Indian, Mauryan, Bird with Wheels, 1st century B.C.–1st century A.D.,
terra cotta, Gift of Subhash Kapoor, 2007.112
Indian (Chandraketugarh), Kubera Rattle, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.115
Indian (Chandraketugarh), Fertility Goddess Sitting with Star, 1st
century B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor,
2007.116
Indian (Chandraketugarh), Square Plaque with Horse, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.117
Indian (Chandraketugarh), Fertility Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.118
Indian (Chandraketugarh), Man Riding Animal, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.119
Indian (Chandraketugarh), Torso of a Woman, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.120
Indian (Chandraketugarh), Monkey Figure, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.121
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.122
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.123
Indian (Chandraketugarh), Plaque with Two Figures, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.124
Indian (Chandraketugarh), Plaque with Figures, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.125
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.126
Indian (Chandraketugarh), Rattle of Kubera, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.127
Indian (Chandraketugarh), Plaque of Yakshi, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.128
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.129
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.130
Indian (Chandraketugarh), Plaque of Standing Figure, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.131
Indian (Chandraketugarh), Plaque of a Horse, 1st century B.C.-1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.132
Indian (Chandraketugarh), Plaque of Two Figures, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.133
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.134
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.135
Indian (Chandraketugarh), Circular Plaque Fertility Goddess, 1st
century B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor,
2007.136
Indian (Chandraketugarh), Figure on Crocodile, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.137
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.138
Indian (Chandraketugarh), Fragment of Yakshi Head, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.139
Indian (Chandraketugarh), Standing Yakshi, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.140
Indian (Chandraketugarh), Fragment of Yakshi Plaque, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.141
Indian (Chandraketugarh), Fragment of Yakshi and Bird, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.142
Indian (Uttar Pradesh), Ram, 1st –2nd century A.D., terra cotta, Gift
of Subhash Kapoor, 2007.143
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.144
Indian (Chandraketugarh), Plaque of Water Buffalo and Tiger, 1st
century B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor,
2007.145
Indian (Chandraketugarh), Fertility Goddess Figure, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.146
Indian (Uttar Pradesh), Gupta Period, Head, 5th century, terra cotta,
Gift of Subhash Kapoor, 2007.147
Indian (Uttar Pradesh), Gupta Period, Head, 6th century, terra cotta,
Gift of Subhash Kapoor, 2007.148
Indian (Uttar Pradesh), Gupta Period, Head, 7th century, terra cotta,
Gift of Subhash Kapoor, 2007.149
Indian (Uttar Pradesh), Gupta Period, Head, 8th century, terra cotta,
Gift of Subhash Kapoor, 2007.150
Indian (Western India), Female Head, Gupta period, 5th century,
terra cotta, Gift of Subhash Kapoor, 2007.158
Indian, Gupta Period, Head, 4th century, terra cotta, Gift of Subhash
Kapoor, 2007.159

seems he was also into Pakistani

Pakistani (Mehrgarh; Ancient India), Bull with Two Humps, 5000–
2000 B.C., terra cotta, Gift of Subhash Kapoor, 2007.151
Pakistani (Mehrgarh; Ancient India), Cow, 5000–2000 B.C., terra
cotta, Gift of Subhash Kapoor, 2007.152
Pakistani (Mehrgarh; Ancient India), Cow on Base, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.153
Pakistani (Mehrgarh; Ancient India), Two Cows, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.154
Pakistani, Cross Plaque, 5th–7th century, terra cotta, Gift of Subhash
Kapoor, 2007.155
Pakistani (Mehrgarh; Ancient India), Bowl, 4th–3rd century B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.156
Pakistani (Mehrgarh; Ancient India), Female Doll, 5th–3rd century
B.C., terra cotta, Gift of Subhash Kapoor, 2007.160
Pakistani (Mehrgarh; Ancient India), Female Doll, 6th–3rdcentury
B.C., terra cotta, Gift of Subhash Kapoor, 2007.161
Pakistani (Mohenjo-daro; Ancient India), Weight, 3000–1000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.162
Pakistani (Mehrgarh; Ancient India), Bull with Two Humps, 5000–
2000 B.C., terra cotta, Gift of Subhash Kapoor, 2007.151
Pakistani (Mehrgarh; Ancient India), Cow, 5000–2000 B.C., terra
cotta, Gift of Subhash Kapoor, 2007.152
Pakistani (Mehrgarh; Ancient India), Cow on Base, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.153
Pakistani (Mehrgarh; Ancient India), Two Cows, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.154
Pakistani, Cross Plaque, 5th–7th century, terra cotta, Gift of Subhash
Kapoor, 2007.155
Pakistani (Mehrgarh; Ancient India), Bowl, 4th–3rd century B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.156
Pakistani (Mehrgarh; Ancient India), Female Doll, 5th–3rd century
B.C., terra cotta, Gift of Subhash Kapoor, 2007.160

Iranian

Iranian, Pitcher, 9th–10th century, terra cotta, Gift of Subhash
Kapoor, 2007.157

The Museum recognizes and thanks the
following organizations, businesses, and
individuals who made gifts during 2008
in support of art acquisitions, capital
projects, and special programs.
$100,000+ – Subhash Kapoor: gift of art

CUMULATIVE GIVING
The Toledo Museum of Art salutes the
following donors for their generosity and
continuing support during its second
century:
Key:
I. Founding Benefactors
II. $10 million and higher
III. $5 million to $9.999 million
IV. $1 million to $4.999 million
V. $500,000 to $999,999
VI. $250,000 to $499,999 – Mr. Subhash Kapoor
VII. $100,000 to $249,999

Kapoor Files- Art of the Loot Part 8- He is in Australia while She is in America

It has been quite sometime since the world was made aware of the theft of the bronzes and the involvement of accused Subash Kapoor and the gallery Art of the Past. The proverbial tip of the iceberg was this Nataraja and thanks mainly to efforts of blessed souls across the world.. While there has been nothing new that has come up on this case from the authorities and same rhetoric from the gallery.…we now have further evidence to show that his consort is languishing in America.

Here is the file photograph of them together as a couple in their abode in Sripuranthan.


We had earlier shown the proof on the Nataraja and now thanks to a generous reader we have accessed to the Art of the Past galleries 2008 catalogue which reveals shockingly indepth details of the bronze including a flowery writeup. You cannot but notice that the residual marks on her face and cheeks explicitly imply that she was a bronze under continuous worship !!

A simple comparison reveals that both are the same

This is the same bronze that was displayed when America customs displayed their catch in the news conference post the raids on the Art of Past gallery warehouse.

This should be more than adequate proof to seek the return of this bronze back to India ! and hopefully reunite the divine couple.

Kapoor Files- Art of the Loot Part 7- can we afford to be Lax

Can we afford to be Lax in our followup of bringing back our cultural treasures ? It is a question which we posed to our readers some months back in this post….

Sadly the trend seems to be continue in current ” progress” on the Kapoor story. We find a detailed account with varying dates , numbers given in the Idol wing’s website with the foot note reading as under:
”
Present Stage of the Case :

There were two temple burglaries in Sripuranthan Village and Suthamally Village during 2006 and 2008 which 28 antique idols of Hindu Deities of immeasurable value were stolen and subsequently smuggled out of India and illegally exported to USA”

Compare the same to the case registered

“It was during interrogation of those persons, it transpired that 18 Antique Metallic idols were stolen from Sri Varadaraja Perumal Temple at Suthamalli village by the three of them”…..” theft of eight idols in an another Sivan Temple at Sri Puranthan Village in Ariyalur District”

“…….18 Antique metallic idols from Sri Varadaraja Perumal Temple at Suthamalli village. A Non Bailable Warrant was issued to the petitioner and for recovery of stolen idols. Blue notices were sent for extradition of the petitioner to CBI, Interpol, New Delhi. It was further found that the same gang was also involved in the theft of eight Antique metallic idols stolen from Sri Pragdeeswarar Temple at Sri Purandan village in Ariyalur District. They were also exported to the U.S.”

So the case files reference to 18+8 = 26 bronzes.

Another reference mentions only 18

“On 13.04.2008, in a famous temple viz., M/s.Arulmigu Sundareswarar and Varadharaja Perumal Thirukovil, Suthamalli Village, Udayarpalayam Taluk, Ariyalur District, as many as 18 idols, made of panchalohas were stolen away.”

While the most glaring anomaly is in the number of bronzes stolen there seems no consenus on the actual year they were stolen and illegally exported out of India. To make matters worse the Idol wing’s most important tool – ie the release of the photographs in such poor quality and most irresponsible manner in which they affixed erroneous names to the exhibits : Real howlers like Deepalakshmi ( lady with the lamp!!) for an Amman bronze, Sampanthar for Manikkavasagar and Krishnan for Sambandar. The second set of photos have equally ridiculous labeling : Deepalakshmi for Astradevar, Murugan for Chandikeshwara.

The Pdf published in the same site thankfully makes a few corrections but is still wrong in many. However it is important to note that the Chandikeshwara shown in the website ( titled Murugan) is absent in the pdf and now has a proper subramanya. So let us count.

8 listed under Suthamalli and 8 listed ( count Nataraja + uma as 2) under Sripuranthan. The photo of Chandikeshwara seems to match the set from Suthamalli. So overall we have images only for 17 bronzes.

We have already published information on the pdf file and the two images marked in Green have been identified with bronzes currently exhibited in two major museums. This information has already been passed on to the authorities and hopefully they will act on them. It is important to mention that they seem to have acquired them as early as in 2006.

It is pertinent to mention that The Australian has just published a list of 21 items acquired from Subash Kapoor that need to checked. The most interesting is this masterpiece Sambandar.



We do not have a visual match for it from any of the published bronzes from the Idol wing ( as obviously they wrongly labelled dancing Sambandar as narthana Krishnar and then Manikkavasagar as Sampanthar !!).

We understand the the IFP has in its archives atleast some (more) of the photos from both the temples and it is sad to see that a complete itinerary of the assets have not been tallied and presented to the courts yet.

It is pertinent that the Idol wing and other authorities show more interest in solving this case in entirety and not just do lip service Galleries and Museums who have bought these stolen items have to shown proof to make them return these artifacts.

for example, below are some bronzes which are yet to be identified by us but published in the catalogues of Art of the Past.

Dancing Krishna / Navaneetha Krishna – Catalogue September 2008


The styling of this Krishna is contemporary the Sambanthar from Australia.

Skanda – Chola – Catalogue September 2008



This is a very important chola subramanya ( distinct from the previous one we posted)

Ganesha – Chola – Catalogue September 2009

It is important to notice that the base has been removed from this bronze. We have already seen that the bronzes from Suthamalli have inscribed bases reading ” Suthavalli” being found in both the Natarja and Uma pedestals. Were all the bronzes similarly inscribed and is it the reason why they had their bases removed? If so is this bronze part of the stolen yet unlisted one from Suthamalli ? Further we have information that the IFP has one bronze listed as Ganapthi under their roll number 02235. Will the authorities make the effort to check this?

Uma – Chola Catalogue September 2011


Classical Chola beauty. We hope this is part of the sculptures covered in the latest twist from America side.

Nataraja – Chola Catalogue March 2011.



Fantastic chola Nataraja and not matching any of the bronzes published by the Idol wing. It is pertinent to point out that the IFP has two bronze Nataraja’s listed in their archives under roll number 11207 from Sripuranthan. Was there a second Nataraja stolen from the same temple?

We have also had a kind volunteer submit paper cuttings of Art of Past advertisements in Art of Asia volumes and they have been invaluable in ascertaining provenance for ( yet unreported) findings. However, there are a few more interesting bronzes from those which we are putting in public domain for people to help report.

Somaskanda- Chola

This is different from the published Somaskanda from suthamalli – photo from the Idol wing which is still to be traced.

Jaina MahaYaksha – Chola

Very rare to see a Jaina bronze but sculpted in classic Chola style.

Parvathi – late Chola ?

We hope the above will help unravel more and spur the authorities to do a more through job

Kapoor Files- Art of the Loot Part 3- Where is the Suthamalli Nataraja?

Following the fantastic piece of investigative journalism by the Chasing Aphrodite team, we continue to dig and present data that we feel will be raise pertinent questions.

We are back to Idol wing’s published photos of the missing bronzes from the two temples – Suthamalli and Sripuranthan.

Focus on the two Nataraja bronzes. One from Suthamalli

and one from Sripuranthan


It is clear by observing the Prabhavali or the circle of flames surrounding the bronze that the two are very different though the stylisation of the Dancing Lord is almost the same.

We have the Nataraja in the National Gallery which is said to “closely resemble” one of these – but which one? Lets study them.


Once again the circle of flames helps us know that this resemblance is to the Sripuranthan bronze and not to the Suthamalli Nataraja.

Now as published in the Chasing Aphrodite scoop, new photos have emerged of what appears to be the same bronze in the hand of the smugglers in an apartment in India sometime around 2006.


The accused Kapoor’s Art of the Past had published this photo in its Catalogue.

Now, as elaborated many times and also highlighted in the gallery’s defenses – there are hundreds of Nataraja bronzes in South Indian temples and they look very similar. However, to the trained eye it is very easy to spot the differences, credit again goes to the lost wax process wherein each is designed by hand, uniquely in wax before being cast in metal. So even with the hazy photos from the Idol wing / Archives – let us draw your eye to one particular aspect of the bronze. Count the flames in the ring and focus on the third one on his right – right under the uplifted foot

Do you see that part of the flame has broken off. Now let us compare all the images with us.



Ironically the Lord seems to point out this if you let your eyes follow his bent lower left hand !!!

Ascertaining this fact must not take a few seconds if only we had a better quality image from the Idol wing / IFP Pondy archives.

So one thing is for sure, we are talking of the Sripuranthan bronze and it has been removed from its base pedestal as well !! The larger question remains as to where is the Suthamalli Nataraja now?

During the course of our Independent investigation, we found another magnificent bronze Nataraja in the Art of Past catalogue of March 2011.


Once again comparing the Prabhavali – it is not the Suthamalli Nataraja. If so where is this from ? Are there more temples from where these precious treasures have been looted and we are oblivious to it. Who is to search for these answers?

Big Temple Painting – Why they are not Sri RajaRaja and Karuvurar

The controversy over the identity of the two people in this famed Chola painting probably overshadows the Big Temple Vimana’s Shadowless myth.

It is true that many great scholars did identify them as to be the Great Emperor and his teacher, but recent arguments do offer considerable evidence that to the contrary. This post is to line up these arguments and present them in a coherent manner as well as offer some possible evidences to the identity of the two.

1. First and foremost: The Emperor waited 15 years before taking on the crown from 969 to 985 CE. The Big temple was completed in 1010 CE, which is known to us from the inscription which states the Emperor donated Gold for making the alloy for the Top Kalasam / Finial on the 275th day of his 25th year of reign. a simple math gives us 985 + 25 to be 1010 CE. The last inscriptions of the Emperor is from his 29th year of reign ie. 1014 CE. So at the time when the paintings were done he must have been in his advanced years and not the strapping youth as seen in this painting.


Further more, inside the same painted gallery of the vestibule in the big temple, we have his portraits in the other panels, showing him as middle aged and with a majestic beard – when he is shown worshiping in Chidambaram standing and seated worshiping the very peruvudayar in tanjore.

2. The second important point to notice and to me the post important is the very structure of a royal portraiture. In the two panels where we have the great Emperor, no other person is depicted larger than him, except the Lord ofcourse.


I think most of the scholars erred maybe because so little was known of the overall smaller panels and we are to thank ASI, Sri. Sriraman Sir, Artist Sri Chandra Sir for the line drawings and Sri Thyagu for the brilliant photography – the two books added invaluable wealth of material to what we know of the famed paintings – One by the Tanjore Tamil University and the more recent one by ASI authored by Sri Sriraman.

3. Now back to the same wall but from a longer perspective. You can see that this is not a central panel ( as compared to the other two portraits of the Emperor where he is at the center of the panel along with the Lord), and there are two more people painted above them and they are proportionally larger than these two.


Obviously you would not want to paint some other mortal above the Emperor and in a larger size than him.

4. So if these are not the Emperor and his Guru, who can they be. On that subject a very interesting puzzle is the Guru’s sacred thread – if it is that. He is shown wearing it over his right shoulder which is very uncommon and usually practised when one does the funeral rites for the departed.

So there is a possibility that it can be perceived to be the Emperor’s son Rajendra with his Guru on his father’s …But then this is on the outer walls of the Sanctum and very very negligible chance for such a portrayal. It can be argued that it is just a cloth ( though vastra yagnopavithams are in vogue during that period).

5. If these are not them, who can it depict. There is an interesting sculpture in the Tanjore Palace Museum which bear a remarkable resemblance to the odd couple. They are Narada and Chitrasena.

Lets try to mix and match

6. Another possible identification comes from studying the famed Sundarar ascending to heaven panel.

Focus on the top left ( as you view it) of the painting

A host of celestials have assembled to view the divine spectacle and there is a particular row which we need to analyse.

Clearer in the line drawing

These are the Dvadasa Adityas, Ekadasa Rudras

Check the two people who are on the extreme left of them.

So, as per above since they form part of the welcome party when Sundarar ascended to the heavens along with Cherman Perumal, an event that happened well before the Emperor’s times – the two cannot be him and Saint Karuvurar.

Images Courtesy: Sri Gokul Seshadri, Sri Thyagu, Sri Sriraman, Sri Chandru and Hindu archives.