This most accomplished sublime image, a brass-cast but surpassing gold in its richness and lustre, represents the Ashta-bhuja-dhari Durga, the goddess in her eight-armed manifestation. She is not engaged in eliminating any demons or in any related act as she is usually represented. More or less it is her portrayal in a still state.
‘Adi-shakti’ – primordial power preceding all gods and every manifest
and unmanifest entity, whatever the various myths in regard to her
origin, the goddess was all gods’ accumulative power irrespective of
whether the gods bestowed theirs upon her when they invoked her for
accomplishing their errand, or she shared hers with them when after
the great deluge even Vishnu, the first among gods, a mere ignorant
child in abyssal darness, awaited her to reveal on him his identity
and role, and Shiva, a lifeless mass, to infuse into his being the
life and the power to create which she accomplishes by dancing upon
his lifelessness and engaging him into copulation, an act of flesh but
with the divine instinct to create.
Thus, whatever the contentious claims in regard to her sectarian
identity dragging her into this fold or that, the goddess is best
perceived in her trans-sectarian identity which most appropriately
reflects in the attributes that her images are often cast with, this
statue being its appropriate example. This image of the goddess
carries in its right side hands disc, sword and mace, and the fourth
is held in ‘abhaya’, while in those on the left, it is carrying a bowl
with flames of fire in it, conch, bow and trident. Among them, disc,
mace and conch are essentially the attributes of Vishnu representing
one sectarian line, trident and the fire, of Shiva, representing
another, as also bow, his attribute as Ishan and also of the love god
Kamadeva, ‘abhaya’, the divine attribute of all divinity, and so, the
Shiva’s energy that created and destroyed and Vishnu’s power to know
and act are the inherent attributes of the Adi-shakti revealing best
in her all pervading timeless presence, in an act of her body :
elimination of an enemy or evil, which is essentially timed and bound
to a geography, revealing just an element of her, not her totality as
reveals her presence. In scriptural tradition she has been invariably
invoked as destroyer of one evil force or other; in visual traditions
there also appears her non-operative image registering her presence
also beyond an act. All myths relating to her origin dually aim at,
one, creating in her form the undefeatable divine power that
eliminated a specific evil – a demon, or a set of them, and the other,
the model of supreme beauty and the most accomplished form of
womanhood. Her undefeatable aspect was at one and the same time
ferocious as well as valorous having thus two sets of manifestations,
though visually the images that emerged did not mark this distinction.
They were divisible broadly under two classes of them, one, her
‘lalita-rupa’ – a form abounding in supreme beauty, and the other, her
form as wrathful destroyer, an invincible warrior with unparalleled
valour. This brass-statue in review here comes obviously under the
former : the goddess in her ‘lalita-rupa’.
This effulgent brass-cast, representing the goddess as seated on her
mount, the majestic lion, with her left leg lying down, while the
right, placed horizontally on the left, known in iconographic
convention as ‘lalitasana’ – the posture revealing beauty, the statue
is essentially a deity image for sanctum or some kind of sacred space.
The figure of the goddess has been conceived as the model of supreme
beauty and the most accomplished womanhood, the other aspect of the
goddess of battlefield. Metal is a tough medium and metal-casting a
difficult art not permitting re-doing; hence, creating such minute
details as are arrived at in this statue : portraying not merely the
goddess’s material form but also her spiritual being, her divinity,
sublimity, self-contentment, and quiescence on the face, is simply
amazing. The statue wondrously delineate the details of her costume,
the sari so draped that every fold surges like waves of water and is
sewn garment type fitted to size, and a blouse revealing utmost grace.
As finely are conceived her iconographic features, various ornaments,
tresses, lifelike picture of her mount, especially the details of its
mane, bearing of its face and its feeling of total contentment. The
unique style of polishing has transformed the effect of brass into
that of gold.
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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