This magnificently ornate brass-cast, each form bold and voluminous like members of a massive building-structure but as much delicately carved with various designing patterns ranging from intricate arabesque-type to chased medallions and fluted linear courses, represents the four-armed elephant-god Ganesha in his Lambodara manifestation – a form with extra large belly believed to contain all the universes within it, oceans of knowledge and all stores of riches.
Lord Ganesha has been conceived as seated on a high seat with
beautifully modeled two tiny bolsters on sides supporting his forearms
and a fire-arch like looking backrest in a posture known in the
iconographic tradition as ‘utkut akasana’ with thighs straightened on
front at right angle supporting on them his protruding belly, and the
legs down the knees turned at sixty-six degree angle. Apart this
protruding voluminous belly held over uplifted thighs and contained by
a strong belly-band tied around, the figure of the elephant god is
somewhat lean and thinly modeled, obviously for giving the form a more
anthropomorphic look. Unlike his usual broad face with front-facing
eyes this statue of Lord Ganesha has been conceived with a narrow
face, only so much wide as would require an elephant trunk to branch
from. The eyes are shifted to sides as in an elephant body. The trunk
itself is quite lean and curved simply on the left almost at right
angle. Its tip is placed on the bowl of ‘laddus’. Dimensionally the
face has greater depth and much less breadth assuming a look of
This angularity along the central line that defines his conical
headdress and the nose-line of the ‘Kirtimukha’ atop creates a
delightful symmetry of parts : the right and the left – forehead,
large ears, sides of the face, style of shoulders … This magic of
symmetry characterizes the entire statue, the seat he is sitting on,
the mouse, its base, bolsters his arms are laid on, backrest and the
podium carrying the seat, the architecture – arched sanctum patterned
with equal numbers of medallions on either side and its identically
designed base-columns, massive lamp-posts with exactly similar lamps
atop and identically fluted, flanking the main arched structure, and
the ‘Kirtimukha’ motif atop. The bunches of five decorative gussets
suspending from the ‘Kirtimukha’ – auspicious face, one comprising the
centre and two on each side, besides the identically modeled whiskers,
beard’s right and left parts, cheeks, eyes and the coils of hair,
further emphasize this magic of symmetry.
A pleasant parallelism, as gods and kings of high order used for their
official seat a ‘simhasana’ – a seat or throne, consisting of a
front-facing ‘simha’ or lion figure, or lion-figures comprising the
seat’s four legs, the artist has created here for His Majesty Ganesha
on the parallel lines a ‘musakasana’ – a seat consisting of ‘musaka’
or mouse, Lord Ganesha’s mount. In the statue, different from the
style of a mount – as a mouse is invariably conceived in Ganapati
imagery, the figure of the mouse in this statue comprises the face and
the very base of his seat as does a lion-figure in ‘simhasana’. The
highly innovative statue uses the figure of mouse, his mount,
different from one comprising his seat, like a temple-dhwaja, the
emblem of the temple’s sectarian identity. As in a temple dedicated to
Shiva his mount Nandi, the bull, is usually installed facing the
temple’s main entrance, sometimes in a subordinate structure, and is
known as Nandi-dhwaja, this figure of the mouse, the elephant god’s
mount, has been installed exactly like a ‘musaka-dhwaja’ on a
subordinate podium on the main podium’s left as if suggesting that the
shrine is dedicated to Ganapati, its master. The podium on the right
side has a ‘purna-ghata’, a highly auspicious object symbolising
auspices that abound in the form of Ganesha.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.
How to keep a Brass statue well-maintained?
Brass statues are known and appreciated for their exquisite beauty and luster. The brilliant bright gold appearance of Brass makes it appropriate for casting aesthetic statues and sculptures. Brass is a metal alloy composed mainly of copper and zinc. This chemical composition makes brass a highly durable and corrosion-resistant material. Due to these properties, Brass statues and sculptures can be kept both indoors as well as outdoors. They also last for many decades without losing all their natural shine.
Brass statues can withstand even harsh weather conditions very well due to their corrosion-resistance properties. However, maintaining the luster and natural beauty of brass statues is essential if you want to prolong their life and appearance.
In case you have a colored brass statue, you may apply mustard oil using a soft brush or clean cloth on the brass portion while for the colored portion of the statue, you may use coconut oil with a cotton cloth.
Brass idols of Hindu Gods and Goddesses are especially known for their intricate and detailed work of art. Nepalese sculptures are famous for small brass idols portraying Buddhist deities. These sculptures are beautified with gold gilding and inlay of precious or semi-precious stones. Religious brass statues can be kept at home altars. You can keep a decorative brass statue in your garden or roof to embellish the area and fill it with divinity.
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