Possessed of infinite beauty and grace this rare masterpiece represents Umasahita Shiva dancing in full ecstasy and delight. Slightly different from Uma-Maheshvara form that represents Shiva usually in a seated posture with Parvati, Umasahita Shiva is a posture of the two as engaged in love. In its figural dimensions, anatomy, gesticulation of various parts, iconographic features, ornamentation, fluidity of lines, rare plasticity, perfect modeling and above all in its power to breathe a lyrical eloquence, such as a lingual medium – the sound or the text, fails to express, this great work of art joins back the school of early tenth century Chola school. Chola statue have been a little more sensuous when conceiving the figure of Uma, especially when modeling her burgeoning and voluptuous beasts and thighs, something to which this contemporary work adheres with as great thrust.
In this modeling of the figures of Uma and Mahesh features of the
Chola art tradition are exceptionally well pronounced. Sharp nose with
elevated middle, lotus-eyes, cute small lips, pointed well-defined
chin, large ears with ear-lobes reaching down the shoulders, tall
slender figures with perfectly balanced anatomy, curvatures and
contours of raised arms and bent legs, styles of partly covered
foreheads, Uma’s, with her hair, and Shiva’s, with an ornamental band,
Uma’s knotted hair, laid in front over her right shoulder, and Shiva’s
coiffure, alternated by a towering crown and an elaborate floral disc
on the back, modeling of Uma’s breasts and Shiva’s chest part, styles
of tight-clinging and grooved ‘antariya’ : Shiva’s, short, and
Parvati’s, long, Shiva’s large ‘yajnopavit’, and their identical
‘kanthis’ – chains or laces worn around the neck, with moderate
circular pendants are features characteristic to statue of early
The statue is a delightful blend of contrasts. From every part of the
figures of Shiva and Uma there reveal great ecstasy, emotional fervour
and eloquence but without affecting the figures’ basic poise. The mute
gestures of their figures reveal a dialogue more powerfully than would
express any set of the spoken words. The artist has arrested the two
figures into a static posture firmly fixed into a position, though
strangely this static posture is composed of fluid contours, flexion
and gyrating bodies exploding with energies and lively movements. The
metal’s hardness seems to melt in the overall disposition of the
figures, especially the sway of Uma’s hands and legs, ecstatic
gestures, ‘bhavas’ on their faces, and passion in eyes, and in their
The statue of Umasahita Shiva has been installed on a three-tiered
pedestal shaped like an upside down boat. Its base consists of
stylised lotus moulding. Over it is a moulding consisting of floral
arabesques, and that on the top is a plain one. Towards the pointed
edge behind the figure of Shiva there emerges a tall lotus-stem type
column terminating on its top into a four petalled lotus. While
holding Uma on his left leg and bending on his back Shiva seeks
support of this lotus-stem. In the Shiva’s hand and with forked apex
it looks more like his trident rather than the lotus-stem. Shiva is
standing on the toe of his right leg and Uma’s figure, supported on
it, almost swings above the ground. Her figure seems to gyrate around
Shiva’s. As Shiva has sought support from the lotus-stem, Uma holds
the end-part of her sash, and with her left ringing around Shiva’s
neck, his figure. The beautifully carved sash looks like a musical
instrument and as if she is paying on.
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
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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