As is obvious, in his statue of Shiva the artist has sought to represent an anthropomorphic vision of Shiva’s face, however a towering crown having graded ascendance substituting his matted hair, resembling a Vaishnava model, an element foreign to Shaivite cult, seems to have been added for imparting to the iconography of Shiva’s head linga-like dimensions. Though partially, the artist has retained the form of 'yoni-pitha' while conceiving the form of pedestal for his statue. The use of deep black paint is also meaningful. Representing abyssal darkness in which all forms dissolve it dilutes entire iconicity and shifts the eye from features to figure’s dimensions, particularly its rise. The front-facing crown’s vertical decorative band comprising flames-like motifs, twelve in number, might have been conceived as symbolising twelve ‘Jyoti-lingas’, again linking the statue with Linga iconography.
The face in the statue is taller in relation to its breadth; however, a crown taller than the face dominates it. The figure has sharp pointed nose, large eye with prominent eye-balls, though closed as in meditative trance, arched eye-brows extending across the breadth of the face, prominent cheeks, pointed chin, cute lips, a proportionate neck and broad forehead with tripunda mark and tri-netra. There enshrine on the face, besides a kind of glow and tenderness, inner contentment, intrinsic bliss and spiritual serenity. It appears to be simply wondrous how in a tough and uncompromising medium like brass the artist should have packed such tender dimensions and so much of meaningfulness.
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
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