The evolution of Indian bronze sculptures begins with the Harappan civilization’s iconic Dancing Girl (c. 2500 BCE) and continues through Buddhist, Jain, and Hindu icons across Gupta, Pala, and Chola dynasties. Using the lost-wax method (Madhuchista Vidhan), artisans created ritual objects, deities, and decorative pieces. Over centuries, bronze transformed from utilitarian metal to a revered artistic tradition, symbolizing India’s blend of technical mastery, spirituality, and cultural continuity.
Bronze or Kaansya/Kaansa in Indian culture has been a part of its craft and everyday life due to its use in sacred items, articles of luxury, and daily use objects. From the advent of the civilization of Harappa, the art of making bronze statues and artworks has remained the same. The lost-wax process followed by the Indian artists includes long and focused steps of collecting, preparing, sculpting, and finishing the icon.
Across the country, the technique learned from Harappa was adopted by regional artists, who formed their own iconography and themes that were popularized through Indian bronzes. This blog is a walk-through history to see how the metal and its sculptures became a symbol of India in modern times.
The Indus Valley or Harappan civilization marked one of the earliest chapters in Indian metallurgy. Harappan artisans worked with copper and experimented by alloying it with tin, arsenic, or nickel to create bronze. Their skill produced a wide variety of objects tools such as knives, chisels, and axes; ornaments like rings, bangles, and mirrors; and functional items including vessels and arrowheads.
Archaeological evidence from Mohenjodaro shows that the use of bronze tools rose significantly over time, reflecting both innovation and wider adoption. A remarkable hoard at Harappa revealed a large cooking pot with a bronze cover filled with copper tools, while seals made of bronze also demonstrate its role in craft and trade.
The most celebrated bronze artifact of this era is the “Dancing Girl” of Mohenjodaro (c. 2500 BCE). Cast using the lost-wax method (Madhuchista Vidhan), she stands with one hand on her hip and the other on her thigh, adorned with a necklace and 24–25 bangles. Her elongated limbs and confident stance embody both artistic experimentation and cultural symbolism, making her the earliest known bronze sculpture from India.
The 'Dancing Girl' of Mohenjodaro
Another significant discovery comes from Daimabad (c. 1500 BCE), where wheeled bronze figurines suggest ritualistic or ceremonial use rather than daily utility. These finds highlight the Harappans’ advanced casting techniques and their deep connection between metalwork, society, and ritual life.
The transition to the early Vedic period with texts like Rig Veda Samhita gives us an idea about the usage of metals during that time. The hymns in Rig Veda mention many crafts and occupations but there are hardly any references to metallurgical activities in it. The word ayas occurs in several contexts which could have meant copper, copper-bronze, or a generic term for metals.
By the 3rd century BCE, classical texts such as the Charaka Samhita, Sushruta Samhita, and Kautilya’s Arthashastra highlighted the widespread use of bronze. Shusruta, for instance, recommended drinking water from bronze vessels for health benefits, while Manu prescribed purification practices for bronze and brass utensils. These references show how bronze transitioned from a utilitarian alloy to a trusted material in medicine, law, and ritual practice.
Archaeological finds from Tinnevelly (modern-day Tirunelveli, Tamil Nadu) reveal ornamental bronze articles, confirming its early use in South India for both household and decorative purposes. Bronze was often associated with iron weapons, suggesting parallel developments in metallurgy.
From the 2nd century CE onwards, bronze became central to religious art, with Hindu, Buddhist, and Jain icons crafted in exquisite detail. These ritual bronzes were created using the lost-wax technique, inherited from the Harappan era, and continued to serve both spiritual and practical functions such as cooking, eating, and drinking vessels.
Interesting images of Jain Tirthankaras have been discovered from Chausa, Bihar, belonging to the Kushana Period during the second century CE. These bronzes show how the Indian sculptors mastered modeling the masculine human physique and simplified muscles. The hoard of bronzes discovered in Akota near Vadodara established that bronze casting was practised in Gujarat or western India between the sixth and ninth centuries.
The Guptas, Kushanas, and Vakatak dynasties also have great examples of Buddhist bronze sculptures. The typically refined style of these bronzes is the hallmark of the classical quality. The additional importance of the Gupta and Vakataka bronzes is that they were portable and monks carried them from place to place for individual worship or to be installed in Buddhist viharas.
Northern regions like Himachal Pradesh and Kashmir also produced distinctive bronze images of Hindu deities and Buddhist figures during the 8th–10th centuries. Meanwhile, the Pala-Sena dynasty (8th century) created large, finely executed bronzes, highlighting technical skill and artistic sophistication. Sculptures from the 10th–12th centuries continued this legacy, establishing bronze as the dominant sculptural medium in South India.
The imperial Chola period marked the pinnacle of Dravidian bronze artistry. Chola artisans perfected the lost-wax technique (Cire Perdue), producing lifelike deities with intricate details, fluid postures, and enduring spiritual significance. These masterpieces remain emblematic of India’s metal sculpting heritage. These bronzes were primarily made for ritual worship in temples, yet their artistic sophistication ensured they also became prized cultural symbols.
The making of bronze sculptures in India has been titled “Madhuchista Vidhan” (bee wax), based on the wax that is used in crafting these statues. The basic steps included in bronze statue sculpting according to ancient texts of iconography and sculptures such as Vaishnava Agama works are-
☛ Making the icon in wax
☛ Making the core or garbha of the icon
☛ Making the icon in metal
The process begins with making a model of the actual statue in clay, which allows the sculptor to imagine the process and details. This is done because bronze or Panchaloha, the mix of five metals is costly and difficult to work with. Making a clay idol allows the artist to understand the subject and process, before using the actual material.
The clay model is coated with plaster and left to dry. Once it is dried, the clay is removed and leaving a hollow plaster mold that forms the framework for wax modeling.
For hollow statues, wax is poured into the mold; for solid statues, bronze fills the mold. After the metal cools and solidifies, the plaster is carefully broken to reveal the raw sculpture.
The icon is then cleaned with hand, paper, and cloth. Small tools are used to add finer details to the surface of the metal. With heat and polishing, the surface of the metal is refined further.
The eyes of the statue, in case it belongs to a deity, are ceremoniously opened, giving it life. Once the eyes are added, the statue is considered alive. In case of non-sacred subjects and decor or ritual articles, the art piece is cleaned and prepared for sale.
This time-honored technique has remained largely unchanged from the Indus Valley Civilization to modern India, showcasing the enduring skill, precision, and spiritual depth of Indian bronze artistry.
The focus of this blogs have been the Chola bronzes, which are a representative of the art of metal sculpting. However, there are many other unique techniques of bronze statue making in India:
The Dhokra tradition, practiced in states like Chhattisgarh, Odisha, and West Bengal, uses the lost-wax technique unchanged since the Harappan period. Dhokra artisans create intricate tribal figurines, ritual objects, and decorative pieces, maintaining ancient casting methods passed down through generations.
Kerala bronzes are known for their refined details, elegant postures, and distinctive ornamentation. Typically representing Hindu deities, these bronzes are smaller, highly polished, and often used in temples and household shrines.
Bronzes from the Pala dynasty (8th–12th centuries), preserved in Bihar and neighboring regions, are renowned for their graceful forms, sophisticated detailing, and Buddhist iconography. These sculptures reflect both religious devotion and regional artistic innovations.
Across India, these regional styles illustrate how bronze remained a sacred and versatile medium, adapted to local tastes, rituals, and cultural narratives. Each tradition contributes to India’s enduring legacy of metal artistry.
Exotic India Art has collaborated with skilled Indian bronze artisans for over 25 years, curating a treasured collection of bronze sculptures from across the country. Each piece reflects masterful craftsmanship, cultural heritage, and traditional techniques passed down through generations. These statues are added to our curated collection, which is revamped and prepared according to the taste, demand, and popularity of the art among our patrons.
Whether you are a collector, art enthusiast, or cultural historian, these bronzes provide a tangible connection to India’s metal sculpting legacy. Explore our curated selection to discover timeless artistry that blends spiritual significance, aesthetic excellence, and historical importance.
Here are a few gems from our online and offline collection that represent the hard work and skill of Indian master artists-
As a timeless art piece that came from the workshop of Chola sculptors, Nataraja- Shiva as the Lord of Dance is undoubtedly the peak of Indian bronze art. Popular worldwide, this statue is a symbol of Indian asthetics, embodying movement, grace, and tranquility in a way that has no comparison. Nataraja bronzes represent everything that is good in Indian bronzes and is thus a favorite of collectors, devotees, and anyone who feels moved by art.
Though Chola has become synonymous with bronze in the world art scene, Hoysala bronzes are a refined tradition of bronze sculpting that can not be overlooked. For the lovers of metal art and Indian culture, Hoysala bronzes carry details, dexterity, and divinity that are unseconded. These sculptures have a sense of life, exquisite ornamentation, and scale that makes them a must-have artwork for connoisseurs.
One of the most appealing chractersitc of Indian bronzes is the femininity, elegance, and grace that metal expresses in these artworks. The hardness of bronze is overpowered by the rich expressive sculpting, especially in the icons of Hindu goddesses such as Uma-Parvati, Lakshmi, Saraswati, and Lalita-Tripurasundari, who are imagined in traditional Indian art as ideals of femininity and beauty. Bronzes of Uma- standing and sitting as Bhogashkati, are a part of Tamil temples, and a representation of the skill of the sculptor, who makes life flow in metal.
It is awe-inspring how solid bronze becomes dramatically animated when it comes to Indian bronze sculpting. This masterpiece depicting the moment of Vishnu as Narasimha annihilating the demon Hiranyakashyapu by tearing his belly successfully captures the wrath, power, and drama of the moment as described in Hindu Puranas.
Emerging in a culture of stories, the metal art in India transformed itself to become a narrative art, to an extent where ancient stories and sacred legends could be recreated with perfection, and bronzes appear as if an eternal performance of divine drama is happening.
There are moments in Hindu Puranas and sacred texts that represent the divinity and protection of the god and goddess for the devotees. These moments or stories are symbols of faith, due to which Indian bronzes have recreated them since the beginning of the technique.
The theme of Kaliya-Krishna or Kalinga-Krishna, where the young Lord dances on the hood of the serpent Kaliya, is one such subject that brings devotion and serenity to the heart of the viewer. Bronzes of Lilas are thus cultural motifs that solidify stories of belief and grace, making them not only asthetic gems but also sources of Bhakti.
Pot-bellied, elephant-headed, childlike Ganesha, seems more adorable than royal. However, in the asthetics of bronzes, especially Chola bronzes, Ganesha is presented as a royal, powerful, and beautiful divinity. Icons of Narthan-Vinayakara or dancing Ganesha are some of the best examples of Indian bronzes, where the enormity of the Lord is balanced with visible elegance, which exemplifies the vision of the Sthapati or sculptor, who sees beauty in everything.
Festivals in Indian culture are events that bring regions and people together, and are one of the core elements of the country’s ancient culture. In many iconic bronze statues from India, one can find the depiction of these events, one such example being this heavenly Kalyana-Sundaram, a scene of Shiva and Parvati’smarriage, which is annually celebrated in Tamil Nadu in temples of Shiva. Capturing the ambiance of the festival, this bronze is a commemorative piece, taking the sacred tradition where ever it goes.
One of the first statues of the Buddha to make waves across international art world are his life-size stone sculptures. The beauty and wisdom captured in these statues are also found in the bronze statues of Buddha, where different episodes of his life, Buddha in various poses and gestures and many Buddhist deities are depcited. Classic depctions of Buddha include Buddha in meditation, Buddha giving seremon and Buddha blessing the devotees.
A key part of Tamil temple art are the statues of Vaishnava and Shaiva saints- Alavar and Nayanars, who are placed alongside the temple deities and worshipped for their supreme devotion. Bronze statues of devotees inspired by their traditional iconography as seen in South Indian temple art, are an expression of Indian culture where devotee becomes divine due to their virtues of self-surrender.
Inspired from the sculptures that decorate the sanctum of temples, many bronze statues have been crafted that are a part of the sacred architecture and are used as decor and display items in modern times. Deepalakshmi- beautiful women standing with Deepa or lamp in their hands, adorned in traditional ornaments and dresses are a popular iconography depicted in Indian bronzes.
A symbol of eternal devotion, Deepalakshmi have been included in the decoration scheme of modern spaces, as parts of Indian heritage. Other bronze articles include statues of Apsaras, Hindu River goddesses such as Ganga and Yamuna and attendants of deities.
Indian bronze sculptures represent millennia of artistic mastery, spiritual devotion, and cultural continuity. While Chola bronzes exemplify the pinnacle of South Indian metal art, regional traditions like Dhokra, Kerala, and Pala bronzes showcase India’s diverse sculptural heritage. Each style reflects unique techniques, iconography, and cultural symbolism, linking the past with contemporary appreciation.
Today, bronze continues to be revered as a medium of sacred and decorative art. Collectors, historians, and art enthusiasts can explore curated collections at Exotic India Art to discover authentic Indian bronzes that embody timeless craftsmanship, historical significance, and spiritual depth. Bringing a bronze sculpture home is not just an acquisition—it is an experience of India’s living artistic heritage.
🔸Harappan Bronze Beginnings: The “Dancing Girl” (~2500 BCE) showcases India’s earliest lost-wax bronze sculpture.
🔸Historical References: Early Vedic texts, Shusruta Samhita, and Arthashastra confirm bronze use in rituals, medicine, and daily life.
🔸Dynastic Influence: Gupta, Kushana, Vakataka, and Pala dynasties refined bronze artistry, spreading styles regionally and overseas.
🔸Chola Mastery: Imperial Cholas perfected the lost-wax technique (Cire Perdue), producing lifelike Hindu deity bronzes for temple worship.
🔸Traditional Techniques: Madhuchista Vidhan involves clay modeling, plaster molds, wax layering, metal casting, polishing, and ceremonial eye-opening.
🔸Regional Diversity: Dhokra (Central India), Kerala, and Pala bronzes display distinctive regional techniques and iconography.
🔸Modern Preservation: Curated collections like Exotic India Art maintain India’s bronze heritage, connecting historical artistry to contemporary collectors.
The “Dancing Girl” of Mohenjodaro (~2500 BCE) is India’s earliest known bronze sculpture, created using the lost-wax technique.
Known as Madhuchista Vidhan, it involves clay modeling, wax layering, metal casting, polishing, and for deities, ceremonial eye-opening.
Key dynasties include Gupta, Kushana, Vakataka, Pala, and Chola, each contributing unique styles and iconography.
Chola bronzes are renowned for lifelike deities, intricate details, fluid postures, and spiritual significance, created using the lost-wax method.
Dhokra is a Central Indian tribal bronze tradition, preserving ancient lost-wax techniques for ritual figurines and decorative items.
Collections like Exotic India Art offer curated Chola, Kerala, Pala, and Dhokra bronzes, preserving centuries of craftsmanship.
Bronze sculptures reflect artistic mastery, spiritual devotion, and cultural continuity, serving both ritual and aesthetic purposes.
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