57'' Large Veera Ganpati | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai (Shipped by Sea)

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Ganesha - the Lord (Isha) of Gana (attendants of Shiva) is arguably the oldest name of the elephant-faced Hindu deity. In the ancient Puranic texts such as the Shiva Purana, Vamana Purana, Varaha Purana, and Matsya Purana, the son of Shiva and Parvati is appointed the head of a gigantic and ferocious army of Ganas, Bhutas (spirits of the dead), vinayakas (creators of obstacles) and Matrikas (mother-goddesses, embodiment of the warring aspect of Adi-Shakti Durga ). Accompanied by his cosmic army, Sri Ganesha marches over demons that represent different obstacles in the path of Supreme Wisdom and emerge victorious, standing true to his epithet- “Vighnaharta” (the remover or Harta of obstacles or Vighna). A colossal celebration of Ganesha’s combatant aspect in Hindu art tradition, this Panchaloha Veera Ganapati (the valiant Ganapati), armed with 16 bewildering weapons, in his auspicious single-tusked form is a reminder of Ganesha’s prowess to write an epic battle (the Mahabharata) and own all battlegrounds (as a divine warrior), simultaneously.
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Item Code: PHC217
Height: 57 inch
Width: 36 inch
Depth: 21 inch
Weight: 645 kg
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An imposing pedestal with an upturned lotus serves as the Peetha (platform) for the Panchaloha Veera Ganapati whose aayudha (weapons) create a powerful halo around his gigantic form. Among the 32 forms of Ganesha described in the 19th-century treatise on iconography by Krishna Raja Woodeyar III, the king of Mysore, the roopa of Veera Ganapati armed with 16 armaments presents the most bewitching iconography of Sri Ganesha. Owing to his connections with innumerable battles, Veera Ganapati is evoked by his followers as a Universal sovereign and victor, an idea which is spellbindingly captured by the Sthapatis (sculptors) of this Panchaloha Veera Ganapati.

A bejeweled Karandamukuta (inverted basket-shaped crown) with Makara (mythical creature, symbolic of divinity and royalty) sits on the massive head of Veera Ganapati. A blossomed Kamala (lotus) sign on the forehead marks the third eye of the elephant-faced Lord and is followed by the Tripunda (an auspicious mark) and a curving symbol of a sprig of the Kalpavriksha (wish-fulfilling tree). Ganesha’s extended trunk that holds a Mangala-Kalasha (vase of plenty) is in the rare Valampuri (curving to his right) state, making this bronze Veera Ganapati a potent manifestation of the deity which is popularly known as Siddhi Vinayaka. The humongous body of Veera Ganapati is sumptuously adorned with rich ornaments among which the Udarabandha (belly belt) with its ornate Mayura (peacock) design and the elaborate Kamarabandha (waist belt) embellished with Kiritimukha (face of glory) are remarkable works by the Sthapati to emphasize on the royal status of the warrior Ganesha.

The attributes that Veera Ganapati in this ginormous Panchaloha bronze exhibit are allied with the battleground and are employed by Sri Ganesha in the combats of human and metaphysical realms. Using his trained eye, the Sthapati has delineated his sixteen (Shada) arms (bhuja) with such perfection, that though they sprout from the curiously wide shoulders of Ganesha, if one stands in front of the extraordinarily massive Panchaloha, one can recognize each one of them fitting the sense of perception flawlessly and appreciate the tediously sculpted celestial weapons they hold.  Starting from his right, Veera Ganapati holds a chakra (discus), khadaga (spear), Trishula (trident), Muddgara (hammer), Hala (sow), Parashu (ax), Ankusha (goad), Naga-Paasha (serpent used as a noose), Gada (mace), Dhwaja (flag), lance, Danda (a club with a trident on it), Dhaala (shield), and a Vetaala (vampire). In his primary hands, Veera Ganapati brandishes a Dhanusha (bow) which is made from sugarcane and Bana (arrow), both of them being the emblems of royalty. The Vetala who with his miniature sword and shield is impeccably balanced on the scissor-like gesture of Veera Ganapati is mentioned in the Brahmavaivarta Purana as the persecutor of children and is included in the iconography of Veera Ganapati to highlight that the remover of obstacles has, quite literally, these otherworldly trouble-makers wrapped around his fingers.

“Viniyojitah gananaam aadhipatye cha rudrenaa”- Rudra (Shiva) made Vinayaka (Ganesha) the head of Ganas. The Yajnavalkya Dharmashastra (I, 270) informs us of the crowning of Ganapati or the Lord of Ganas, who are malign spirits with forms as terrible and dark as the moonless night. In the context of icons of Veera Ganapati, Ganas (usually two) can be seen accompanying him, with dreadful appearances, acting as the guardian and soldiers of their Lord. The two dwarfish Ganas that flank this Panchaloha Veera Ganapati carry a Gada (mace) and have their hands raised in “Tarjani Mudra”- a threatening gesture, directed towards anyone who dares challenge the valiant Ganapati. Their minuscule figures serve as a cue to the staggering size of their Lord, standing at whose feet, overwhelmed by the Darshana (the ritualized act of seeing) of the entire cosmos at once, the mind gets bewildered as to who should one bow down to first? Should we prostrate in front of the Prathama-Poojya (first worshipped) Ganesha or should we surrender our senses to the mastery of Tamil Sthapatis, who brought the cosmic warrior to the realm of the mere mortals?

Eternal Brilliance Unveiled: The Mystique of Panchaloha Bronze and Artful Maintenance Rituals


Bronze is a metal alloy that has the primary composition of Copper and Tin. There is also an addition of other metals such as Manganese, Aluminium, Nickel, and some non-metals such as Phosphorus. This composition of several metals and non-metals makes Bronze an extremely durable and strong metal alloy. It is for this reason that Bronze is extensively used for casting sculptures and statues. Since Bronze has a low melting point, it usually tends to fill in the finest details of a mould and when it cools down, it shrinks a little that makes it easier to separate from the mould.

" If you happen to have a bronze statue, simply use a cotton cloth with some coconut oil or any other natural oil to clean the statue. "


A village named Swamimalai in South India is especially known for exceptionally well-crafted Bronze icons of Hindu Gods and Goddesses. The skilled artisans of this place use Panchaloha Bronze for casting the icons. Panchaloha Bronze is made of five metals; Copper, Zinc, Lead, and small quantities of Gold and Silver. Zinc gives a golden hue to the finished figure and Lead makes the alloy softer for the easy application of a chisel and hammer. The common technique for producing these statues and sculptures is the “Lost-wax” method. Because of the high durability of bronze sculptures and statues, less maintenance is required, and can still last up to many decades.

Exotic India takes great pride in its collection of hand-picked Panchaloha Statues. You will find the murtis of Gods (Krishna, Hanuman, Narasimha, Ganesha, Nataraja, and Kartikeya) and Goddesses (Saraswati, Lakshmi, Durga, and Parvati), and Buddha statues. You can also buy Ritual paraphernalia (Wicks lamp, Puja Kalash, Cymbals, and Puja Flag) on the website. All these statues and items have been made with a lot of care and attention, giving them a flawless finish. Their fine carving detail represents the rich tradition of India.

Sculpting Dreams in Metal: The Enigmatic Alchemy of Panchaloha Bronze Masterpieces

Bronze statues and sculptures are known for their exquisite beauty and the divinity that they emit all around the space. Bronze is considered an excellent metal alloy, composed primarily of copper and tin. Many properties make it suitable for sculpting even the most intricate and complex structures. There was a period in history, known as the “Bronze Age'', in which most sculptors preferred to work with Bronze as it was considered the hardest metal. Bronze is especially appreciated for its durability, ductility, and corrosion-resistance properties. India is especially known for its elegant workmanship of skills working with Bronze. The artisans of a town named Swamimalai in South India have been following a tradition of bronze murti making for ages. They use a special material known as Panchaloha bronze to make fascinating icons of Hindu Gods and Goddesses. All of us are allured by the beauty of bronze statues and sculptures but there goes a tough hand in casting those masterpieces with little or no imperfections. Since it is an extremely elaborate process, a sculptor needs to be highly skilled in making bronze antiques. The most common technique for casting bronze sculptures that has been followed since ancient times is the “Lost-wax” process which involves many steps:

1. Clay model making

The making of a bronze statue or sculpture starts with preparing a full-sized clay (usually Plasticine) model of the sculpture. This allows the artist to have an idea about the overall shape and form of the desired sculpture before working with bronze, a much more expensive and difficult-to-work-with material.

2. Mould making

Once the clay model is ready, a mould of the original sculpture is made. This is done by carefully covering the clay model with plaster strips. This step is carried out in such a way that no air bubbles are formed. It takes up to 24 hours for the plaster to dry. Once dried, the plaster is then gently removed from the clay model. The removal happens easily because the inner mould is usually made of materials such as polyurethane rubber or silicone.

3. Wax filling and removal

In this step, molten bronze or wax is poured or filled into the mould in such a way that it gets even into the finest details. The mould is then turned upside down and left to cool and harden. When the wax has hardened, it is removed from the mould.

4. Chasing

Chasing is the process in which the artist refines the surface of the bronze statue using various tools to achieve fine details. This smoothens the surface and gives the statue a finished look. If some parts of the statue were moulded separately, they are now heated and attached.

5. Applying a patina

Bronze sculptures are known for their unique look or sheen on the surface. This may take several years to achieve naturally. Applying patina to bronze sculptures is an important step to make them appear attractive. Working with clay, plaster mould, and molten wax can be messy and therefore sculptors wear old clothes and remain careful. The entire process of making a bronze statue takes several months to complete. Bronze sculptures last for many centuries because of the high durability of the material. Many centuries down the line, these sculptures continue to be appreciated for their majestic beauty.
Frequently Asked Questions
  • Q. Is the statue hollow or solid ?
    A. Panchaloha bronze statues are made through a process of lost wax casting, hence they are solid. To know more about how bronze statues are made, please read our article on Panchaloha Bronze Statues. Whereas, brass statues are made through a process of clay casting, hence are hollow.
  • Q. Can I see the original photo of the product ?
    A. For original pictures of the statue, kindly email us at help@exoticindia.com.
  • Q. Can I return the statue ?
    A. All returns must be postmarked within seven (7) days of the delivery date. All returned items must be in new and unused condition, with all original tags and labels attached. To know more please view our return policy.
  • Q. Can you customise the statue for me ?
    A. For any customisation, a new bronze statue has to be made. To know more, kindly email us at help@exoticindia.com.
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