I am attaching a research article in which Nataraja bronzes from various museums were "finger printed" using metal composition and radioisotope signature for distinguishing its origin. It is not a dating technique, but one that carries a signature of its origin. It is a bit technical, but there is enough generic material that you would enjoy reading. A few salient points-
The author Sharada Srinivasan is at National Inst of Adv Studies in Bangalore, and is an artist and an archaeometallurgist. The article is available from her website, I am including here for convenience. Title is: Shiva as "Cosmic Dancer" : on Pallava origins for the Nataraja Bronze. Published in /World Archeology/ *36*(3):432-450 (2004)
* Her primary working hypothesis is the bronze Nataraja of Pallava origin have different composition than later bronzes, and she "proves" it by showing Pallava bronzes ( these are currently listed as Chola bronzes) have a lead(207/206)/lead(208/206) ratio different from those attributed to early Chola, Chola-Chalukya, late Pandya and Vijanagara bronzes. Lead is a contaminant in bronze metal, and it contains isotopes 206, 207 and 208, and their relative ratios is origin-specific. Another signature she reports is Pallava bronzes have significantly different nickel/cobalt and iron/sulfur ratios than Chola bronzes. * She identifies two bronze Natarajas - one from Kunniyur (attributed to 850 AD) currently in Govt Museum Chennai and classified as a Chola bronze; a picture is in paper. Second one is a small one in the British Museum (a picture is in paper). She argues that the similarity of this to one from Kuram (has looped waist robe) and attributes the latter to 650 AD. * I think her key finding is the characteristic metallurgical properties of various bronzes, and she has combined this identifying property with style of statues for ascribing age and historical period. * Other interesting observation she makes is on the structure of style and its evolution, based on mechanical strength of the metal which permitted the artisans to innovate on bolder and broader designs, especially the sweeping locks. * Sharada suggests that prior to bronze Natarajas, wooden Natarajas were used in processions and in temple panels. Her argument is based strength of wood and the compact bronze Nataraja of 650 AD. Her suggestion is the early bronze designs replicated the wooden designs - her hunch, we might say - as the artists were still experimenting with metal designs.
Overall a nice article to read as it blends art and science with history.
A wife asked her husband - For our 5th wedding anniversary, please take me to a palce where i have never ever visited. The husband replied - Ok Darling , I will take you around our Kitchen. We need to visit our Kitchen ( Chennai Museum) with experts to understand our bronzes. SPS Sir, Vijay - Please take us around Chennai Museum as the next PSVP tour.
Sankar - your note is an interesting composition of the Sangam tradition, especially from a few in Purananooru. The key construct that is replicated is description of two situations, where the second is analogous to the first; and, no direct word connection is made between the two, and that is left to the reader to make the connection. [Prof Hart at University of California, Berkeley who is scholar on Indian literature, especially Tamil and Sanskrit, calls it as "inset", and comments in his publication as unique in the literary tradition] In your case, you "lament" that kitchen ( a place where tasteful dishes are prepared for the physical enjoyment) is an unknown space in a household for the newly married young women, and is analogous to the folks in this forum who have not frequented the Chennai Museum at Egmore (a place where beautiful bronze creations are present for intellectual and cerebral enjoyment). Enjoyed the construct. Raj Mutharasan
Another scholarly article published in 1970 is attached ( Pratapaditya Pal, “Some Interesting South Indian Bronzes”, Archives of Asian Art, 23:24-30(1969/1970))which argues for Pallava bronze creations based on stylistic arguments. Ms. Srinivasan’s approach which is almost 40 years later may be confirming earlier arguments of Prof. Pal. He studies art in general, and specializes in Himalayan and Southeast Asian art form of all kinds. In a manner of speaking his books (has many) reflect his understanding of stylistic presentations.
This article contains photos of bronzes displayed in Museums in North America and elsewhere for comparison studies. As I recall Prof Pal serves as a curator at a Los Angeles Museum. His broad understanding of art provides an interesting perspective on bronzes in Tamil Nadu region.
Key thing to follow in the article is the stylistic argument for dating bronzes. It is a different method from Ms. Srinivasan’s, nevertheless important and useful..
Saurabhwill be in Chennai for Reach function and will be reaching by 11 AM. I too will be landing back by 11 and can join by 1 noon Any chance of a quick tour between 2-4 so that we go to tyhe function by 5
Hi, If anybody in India is interested to buy this title, they can buy it from http://www.vedamsbooks.com, price is Rs 1000, you will get 10% discount I assume over this price. I bought it long back and they gave me 10% discount that time.
Hi Saurabh – Thanks for your link. It comes up as $60 (I am in the US) while it is Rs. 900 (for my nephew in India). The shipping charges are included in the price. Amazon lists it at $34 to $54 plus $3 shipping. Raj Mutharasan