Item Code: RW94Marble12.0 inch X 9.0 inch X 5.5 inch9.04 gms |
Price: $795.00 Shipping Free - 4 to 6 days SOLD
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times since 6th Jan, 2012With rare skill the sculptor has transformed the solid stone piece into an image one can look through. It has the lustre and transparence of crystal, fluidity of water cascading amidst a mass of ice-covered marble rocks and the eye-soothing effect which a mass of pearls would create. This sense of fluidity and transparence is further enhanced by diamonds like semi-precious stone-beads embedded around the deity’s halo and crown revealing a look as do dew-drops gathered on lotus-leaves in a pond reflecting the morning sun’s gentle rays. The gold foils, used for defining body-parts, edges of halo, borders and pleats of ‘antariya’ – lower wear, crown, necklace, bangles, rings and other ornaments, as also his yajnopavit, trunk-line, attributes and his mount, the tiny mouse, in contrast to the image’s pearls’ like look, create a magic rarely witnessed even in aesthetic arts. Apart, the diamond studded halo and crown depict Lord Ganesh’s majesty, and his few but brilliant jewels, great splendour.
Seated on a rectangular low-height chowki, in a posture known in the Ganapati iconography as ‘utkut akasana’ : the right leg turned upwards from knee-joint, and left, laid flat on the pedestal’s base, the statue represents Lord Ganesh as four-armed carrying in his upper right hand a noose, in the upper left, a lotus, and in the lower left, a ‘modak’ – sweet. His normal right hand is held in ‘abhaya’ – protective posture. The symmetrical posture of his two upper hands as also of the attributes carried in them is strangely curious. His symmetrical ears and well proportioned figure : the right and left sides having equal volume, and the lower right hand held in ‘abhaya’ balanced with the thickly folded sash laid over the left shoulder, have been delightfully manipulated. In milky transparent halo-ring his ears seem to almost float. The gold-line mounted with crimson defines and distinguishes his ears from their background. His trunk is turned to usual left, carries a ‘laddu’ on it but the trunk’s tip is not knotted so as to hold the ‘laddu’ within it.
The iconography of the image is quite simple. For symmetry, the form of tusks on either side has been conceived as identical like a broken tusk as in the Ekadanta Ganapati images. The image has upwards arched small but thoughtful eyes. Far more arched are the image’s eyebrows. A well-laid ‘tri-punda’ mark defines his forehead, and an upwards turned ‘AUM’, the top of the trunk. As much delightful is the figure’s anatomy, especially the figure’s long fingers and beautiful pinkish nails. The curiously moulded belly is large but not pot-like. The image has been clad in a large pearl-like white ‘antariya’ pleated in front and the extra length unfurling on either side. This gold-ornamented lustrous image carrying a lotus, a Vaishnava attribute, not any of his father Lord Shiva’s, noose and ‘modak’ being his own, is close to Vaishnava line, as is his Lakshmi-Ganapati form.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.
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