Problems in dating Nepalese metal sculpture: Three images of Visnu

In the absence of many inscribed and dated Nepalese metal sculptures older than the late 15th century, the published corpus until very recently contained only six examples and historians of Nepalese art have of necessity had to fall back on careful stylistic analysis as the only alternative open to them in their attempts to arrive at a reliable chronology of the development of Nepalese art. Using the technique of dating by stylistic analysis, the art historian arrives at a date for a work of art through careful comparison with whatever dated material that does exist, and often with material from neighbouring traditions where the stylistic chronology is felt to be relatively securely established. The basic assumption behind the use of such a dating technique is that the art tradition being studied exhibited a relatively uniform rate of stylistic progression; changes in style, though they occurred slowly, were progressive; stylistic elements were invented or borrowed, developed, employed more and more widely throughout the tradition, and in a final phase dropped or replaced by a new fashion. In studying any image, the art historian examines general features such as proportions, stance, quality of work etc. as well as minor elements of detail such as the base, the crown, jewellery and clothing. In examining several dated sculptures representing one theme, that of the standing four-armed Visnu, it can be seen how hazardous dating by stylistic analysis alone can be and the author examines the problems sometimes presented by Nepalese sculptures that are inscribed even with a date.