A Seated Deity Figure: Shiva by I Ketut Sadra

Shiva by I Ketut Sadra, second half of the 20th century, 36 cm

The figure, richly adorned and wearing a crown, is seated on a lotus-shaped throne. Its front hands perform a mudra (a codified gesture endowed with ritual or symbolic value), while its two rear hands hold a lotus, a symbol of purity and spiritual elevation, and a fly-whisk, a symbol of royalty. The fineness of the features and the hair flowing slightly behind the shoulders might suggest a female figure. However, in Balinese sculpture, deities often display androgynous characteristics, and this type of hairstyle is in fact typically masculine, as that of goddesses or nymphs usually falls to the waist.

It is sometimes difficult to identify with certainty the Hindu deities represented in modern Balinese sculpture. This is particularly true for those who lack in-depth knowledge of traditional Hindu iconography and of its specifically Balinese variant. Nevertheless, after discussing the piece with several collectors and comparing this figure with others I have seen reproduced, my sense is that the deity represented here is Shiva—or Siwa, according to Balinese spelling—one of the three primordial gods of the Trimurti, along with Brahma and Vishnu. While Shiva is generally associated with the principle of destruction, Balinese Hinduism attributes to him a wide diversity of forms and roles. Given the complexity of the matter, I will refrain from taking a position on the particular form or role that this sculpture might illustrate.

This type of representation of seated deities appears to have become more common in Bali during the second half of the twentieth century, perhaps as a result of closer contact with iconographic types of Indian origin. This Indian influence may also be reflected in the presence of four arms, a formula which, to my knowledge, is encountered only rarely in traditionally inspired Balinese sculpture from the early part of the century.

The sculpture is signed beneath the base: "K (Ketut) Sadra." It was created between the 1960s and the 1980s in the village of Mas. While representations of seated deities were widespread in Bali during this period, this example stands out for the quality of its execution. One can appreciate the naturalness of the pose, the harmony of the proportions and elegantly stylized forms, as well as the sophisticated interplay of the elements composing the crown, the delicacy of the fingers, and the fineness of the garment’s ornamental details. Given the fragility of certain parts, it is a rare good fortune to find such a piece today in perfect condition.