In the luxury of bejeweled garbs, Maa Saraswati Sculpture sits in her stance of being engrossed in the melodious tunes from her
veena, hence also worshipped with the name of Veena Vadini (one who plays the
veena). She sits on a ravishing lotus pedestal, carved in three layers of
designer petals; the slight curve of her body as caused by the posture of her
legs is very neatly and realistically carved, keeping the true essence of
Goddess Saraswati’s purity and elegance intact. The swan that stands beside
Goddess Saraswati’s kamalasana (lotus pedestal) is her sacred mount carved
beautifully with its neck bent towards the side.
Saraswati plays the veena with her
anterior hands representing music and creativity and posterior ones hold the
book of Vedas, representing her being the goddess of knowledge and the peacock in
the other one is symbolic of the colorful splendor and dance. If you zoom in to
the image, you will be overwhelmed by the carvings of the postures of her hand,
complying with her graceful aura. Each of the layers of her necklaces and the
designer danglers are beauteously formed directing towards the sculptor’s want
for perfection. Saraswati’s facial expressions are a breath taker, depicting that
realistic chhavi of her Motherly nature, her elegance, and her charm.
You can’t miss out on the lavish carvings
of her long crown, done in circular layers with a designer top and embellished
with a leaf styled ornament from behind, etched in a beautiful floral pattern.
The bright yellow-gold color enhances every aspect of her graciousness and
fits to be perfect ornamentation for your interior décor.
The Puranas that perceived Saraswati as the goddess of the battlefield conceived her form as multi-armed holding a number of attributes in them. Her transformation into the Brahma’s consort or the presiding deity of learning, arts, and creativity seem to have deprived her of the multiplicity of arms; however, her four-armed form was ever consistent, though again the attributes carried in them kept varying except one or two, such as ‘Pustaka – book, symbolic of the Vedas, rosary, or ‘kamandala’ – pot with handle and spout, associated with the iconography of Brahma, her spouse. Puranas attribute to Brahma his emergence from Lord Vishnu’s navel riding over a lotus. Early Saraswati icons associated this lotus also with the iconography of Saraswati, sometimes one or even two lotuses being carried by her in her hands, but more often, as her seat. For long time Saraswati’s ‘Kamalasana’ – lotus-seated form represented the goddess’s most popular image, a form still widely used. The Puranas widely lauded her as: 'Asina Kamala karairjjapabatim padmadhyam pustakam bivrana', that is, the goddess is lotus-seated and carries in one of her hands a ‘japamala’, in two, lotuses, and in the fourth, a ‘pustaka’.
However, subsequently this position, more so in regard to lotuses carried in her hands, not in regard to one comprising her seat, largely changed, especially after lotus was associated with Lakshmi’s icons almost in complete exclusion to any other female divinity. Quite interestingly, Saraswati who was initially the demon-slayer goddess operating in battlefield was subsequently transformed into the Brahma’s coy mistress, a mere divine presence and later, again into a semi-operative deity. As patron deity of arts, literature and music she not only granted ability among her devotees for attaining distinction in them but herself performed and was thus operative.
Accordingly, in her subsequent iconography she not only carried a ‘vina’ – stringed instrument, in her hands replacing lotuses but also played on it. In her later iconographic vision ‘pustaka’ that she carried in one of her hands symbolised literature and knowledge she is the patron deity of. Saraswati stood for absolute purity and accordingly her image was conceived with pure white ensemble and a goose, symbol of purity that fed on pearls as its meal, was associated with her as her mount. Sometimes the dancing bird peacock, not a goose, symbolising colours of culture and creativity, defined as her mount the goddess’s cultural aspect.
As the iconographic tradition has her form, in this magnificent brass-cast : a rare masterpiece, the goddess has been cast as ‘param jyoti-swarupa’, one abounding in ultimate lustre that her exceptionally rich adornment further enhances. Though seated well on her ‘pitha’ – seat, in ‘lalitasana’, a sitting posture revealing ease and aesthetic beauty, her figure seems to move with youthful vigour and ecstasy of the melody emitting from her lyre. As prescribed, besides her large breasts beautifully clad under ornamented ‘stana-patas’ – breast-bands, her form has been conceived with a tall slender figure exceptionally balanced in anatomical proportions and rare in beauty of face. Though lotus-seated the statue represents on her left a majestic bird with large beautiful feathers, obviously a peacock, her mount, stationed around her seat. Her normal right and left hands represented as engaged in playing on ‘vina’, and the upper left, as carrying ‘pustaka’ apart, very strangely, in her upper right hand she is holding another, quite beautiful but smaller bird, perhaps the mythical goose. Thus, the image is all inclusive. Besides lavish ornamentation, especially the towering crown with peacock feather like styled back and very special ‘kundalas’ – ear-ornament, the statue represents her with the lotus seat, peacock, as her mount, ‘vina’ and ‘pustaka’, among the attributes in hands, goose, defining her purity and overall identity, and her absolute form with fine modeling and absolute beauty.
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.
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